04.2.2009 | By Alex Florez |
Having directed “Superbad”, one of the biggest and most critically acclaimed comedies in recent memory, Greg Mottola chooses another teen-angst coming of age story as his follow-up project. But don’t be fooled, “Adventureland” is a completely different type of movie. Read More
04.1.2009 | By Mack Chico |
Mexican-born film star Salma Hayek could take a lead role in an upcoming adaptation of the book “News of a Kidnapping” by Colombian writer Gabriel Garcia Marquez, the movie’s producer says.
Shooting is scheduled to start this October in Bogota and in Mexico on the adaptaion of the 1996 book, a factual account of the kidnapping of 10 journalists by notorious Colombian drug trafficker Pablo Escobar.
Producer Eduardo Constantini, from Argentina, told AFP he hopes for “the most international cast possible” and that Hayek is a possibility.
“Salma Hayek is very interested in the project, has read the script and is enthusiastic,” Constantini said in New York.
Garcia Marquez is considered one of the major writers of the 20th century. His books include the novels “One Hundred Years of Solitude” and “Love in the Time of Cholera,” which was made into a film.
04.1.2009 | By Ted Faraone |
Rated: PG-13 for some sexuality and nudity, violence and brief language.
Release Date: 2009-04-03
Starring: Christophe Barratier, Pierre Philippe
Director(s):
Distributor:
Film Genre:
Country: France
Official Website: http://www.faubourg36-lefilm.com/
Go to our film page
Mickey and Judy Put on a Show… In French
Â
It is only April but “Paris 36†may be the feel-good movie of 2009. The third feature by helmer Christophe Barratier (“Les Choristersâ€) is a stew of plots and subplots with a cast almost the size of that of “Slumdog Millionaire,†but that does not detract from its appeal. Set in Montmartre from New Year’s Eve 1935 to New Year’s Eve 1945, pic’s action takes place against the backdrop of the short-lived Popular Front government of Leon Blum, the Jewish premier who became the focal point of French Fascist anti-Semitism. To cram all that historical context into a two hour movie is a daunting task, but Barratier and co-writers Pierre Philippe and Julien Rappaneau are more than up to it. Fast moving plot and crisp dialogue help. So do compelling performances by the entire cast, Barratier’s confident direction, and no-frills editing by Yves Deschamps.
Â
Despite its historical context, “Paris 36†is a comedy that morphs into a musical. The Fascists are almost comical.
Plot centers on a music hall taken over by a greedy, Fascist real estate thug (Bernard-Pierre Donnadieu) who closes it and puts its workers, including lighting man Germain Pigiol (Gérard Jugnot), out of work. Eventually the workers, led by Pigiol, occupy the theater and stage shows that bomb. They are saved by the arrival of Douce (Nora Amezeder), a songstress of fine voice whose history is central to the plot. Pic is narrated by Jojo (Maxence Perrin) who plays the roughly ten-year-old son of Pigiol. Jojo’s theatrical ambitions provide one of two key subplots. The other hinges on a love triangle pitting labor activist Millou (Clovis Comiac) against Donnadieu’s Gallapiat over the affections of Douce.
Â
Deus ex-machina plot twists are easily overlooked. Notable among them is the surprise un-retirement of Max (Monisieur TSF played by Pierre Richard—TSF is French for radio) a 20-year agoraphobic who sees the world through his radio. It seems that Douce’s mother, a music hall star, was the love of his life. He composed her songs and conducted her orchestra in the very same music hall at pic’s center some two decades earlier. He returns to do the same for her daughter.
Â
Production numbers, set in the music hall, abound during pic’s final reel. One feels almost transported to MGM in the 1930s except that it’s all in French. It seems that every worker at the theater, even the lighting guys, is a superb singer and dancer. Who’d of thunk? Barratier handles what pathos there is economically. Auds are guaranteed not to shed a tear. Production design by Jean Rabasse excels in evoking inter-war Paris. Original music by Reinhardt Wagner and lensing by Tom Stern leave nothing to be desired. The only minor quibble, easily overlooked, is its somewhat predictable ending.
Â
Pic, distributed in US by Sony Pictures Classics, carries a PG-13 rating, perhaps because of a few brief violent scenes. However, for families not averse to subtitles, “Paris 1936†makes an excellent outing.
03.31.2009 | By SBC Staff |
Rated: PG-13 for thematic material, some disturbing content and a scene of sensuality.
Release Date: 2008-12-19
Starring: Grant Nieporte
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.sonypicturesreleasing.es/teaser/sietealmas/
03.31.2009 | By Mack Chico |
Rated: R for some violence, disturbing images and language.
Release Date: 2008-11-12
Starring: Simon Beaufoy
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.foxsearchlight.com/slumdogmillionaire/
Slumdog Millionaire comes from director Danny Boyle and screenwriter Simon Beaufoy, who fashion what is at heart a romance into a mystery and a thriller with Dickensian undertones. It’s tough not to think of David Copperfield when we see the “orphanage” to which the film’s main character is consigned during his youth. What’s more, this filmmaking team has found a new and inventive way to approach the storyline that not only invigorates the material but adds a whole new layer to it. The result is magical and life affirming, and will enrapture those who are not scared away by the mention of “subtitles.” For the record, the majority of the dialogue is in English, although there are lengthy segments during the film’s first 40 minutes when characters speak in Hindi. The way in which Boyle handles the subtitles is playful and colorful, and entirely unlike what we’re accustomed to see. This is a subtitle movie made with subtitle-phobes in mind.
In a way, it’s tough to believe that a film that begins with such a hard edge ends up being as enriching and deliriously joyful as this one. The opening sequences have an ominous undertone, with scenes of torture taking place in the bowels of some dark, dank police station. When the victim refuses to give the answers his captors expect, electrodes are attached to his toes and the power is turned on. This scene is one of the reasons why the MPAA in its wisdom elected to give Slumdog Millionaire an undeserved R instead of the coveted PG-13. Now, teenagers are unable to see the film without parental accompaniment – yet no such restriction limits the access to the cacophony of carnage that is Max Payne. Go figure. Jamal Malik (Dev Patel) is a poor boy from the slums of Mumbai who finds himself center stage opposite a smug host being watched by 90 million people on the Indian version of Who Wants to Be a Millionaire?. Improbably, Jamal is able to answer question after question, responding to the penultimate query and earning 10 million rupees just as time runs out for the episode. The next day, he will return with a chance at the biggest prize. However, that night, the police take Jamal in for questioning, certain that he has cheated. After being tortured, he explains to them how he knew the answer to every question. This results in a flashback-rich tour of Jamal’s life and the two recurring characters in it: his violent brother, Salim (Madhur Mittal), and the girl he loves, Latika (Freida Pinto). Growing up together, they were the “Three Musketeers” until circumstances tore them apart. It soon becomes apparent that Slumdog Millionaire isn’t actually about how Jamal did so well on a TV game show, but whether there will be a happy ending to his found her-lost her-found her-lost her-found her- lost her relationship with Latika. With Garry Marshall, a happy ending would be mandatory, but Danny Boyle isn’t nearly as conventional.
The film has all the elements necessary to make it a major winner in general release, and a dark horse Oscar contender. It’s superbly acted, wonderfully photographed, and full of rich, unconventional location work. Dev Patel has us rooting for the shy, good-natured Jamal from the beginning. Freida Pinto is beguiling as Latika. Anil Kapoor, a big name in Bollywood, is deliciously devious as the gameshow host whose motives are ruled by more than a desire to see his program get good ratings. Imagine Alex Trebek after having been seduced by the dark side of the force. The story works on multiple levels – it can be seen as a sweeping romance, as a thriller, or as a glimpse at the ways in which a fast-developing economy is convulsing the fabric of Indian society. Some of the film’s funniest and most satirical scenes occur within a massive call bank where customer service operatives try to convince callers that they are not, in fact, located in a foreign country. The movie ends with a grand Bollywood song-and-dance number that is not to be missed. Placed between the conclusion of the story proper and the end credits, this sequence dares anyone to leave the theater in anything but the best of spirits.
Some films keep viewers on the outside looking in, able to appreciate the production in technical terms but not on other, more basic levels. This is not the case with Slumdog Millionaire. Boyle’s feature draws the viewer in, immersing him in a fast-moving, engaging narrative featuring a protagonist who is so likeable it’s almost unfair. The movie has moments of heartbreak and tragedy but it is ultimately uplifting and contains pretty much all the instances an audience will want. Boyle has come a long way to get to this point from Shallow Grave and Trainspotting but, after experiencing the pleasure of Slumdog Millionaire, I’m glad it’s a road he has elected to take. (“I am located just around the corner from you, Ma’am…”)
Review written by James Berardinelli
03.31.2009 | By Mack Chico |
As Paramount Pictures readies the May 8 release of its “Star Trek” franchise relaunch, the studio is moving forward with a sequel, and has hired Roberto Orci, Alex Kurtzman and Damon Lindelof to pen the screenplay.
J.J. Abrams, who directed and produced the latest chapter, is onboard to produce the follow-up alongside his Bad Robot partner Bryan Burk. No decision has been made yet on whether Abrams will return behind the camera for the sequel.
Orci, Kurtzman and Lindelof also are receiving producing credit on the sequel.
Story is still in the embryonic stage, but the trio are aiming to deliver their script to the Melrose studio by Christmas for what would likely be a summer 2011 release.
“There’s obviously a lot of hubris involved in signing on to write a sequel of a movie that hasn’t even come out yet,” said Lindelof, co-creator with Abrams of ABC’s “Lost” who produced the upcoming “Trek” but did not contribute to Orci and Kurtzman’s screenplay. “But we’re so excited about the first one that we wanted to proceed.”
As for potential storylines, Kurtzman stressed that the writing team will wait to take a cue from fan reaction about which direction to go.
“Obviously we discussed ideas, but we are waiting to see how audiences respond next month,” he said. “With a franchise rebirth, the first movie has to be about origin. But with a second, you have the opportunity to explore incredibly exciting things. We’ll be ambitious about what we’ll do.”
Though Orci and Kurtzman have worked together as a writing team for more than 12 years, the duo has worked with Lindelof on only one screenplay: DreamWorks‘ “Cowboys and Aliens,” which they are currently writing together.
Paramount has high hopes for the “Star Trek” relaunch, and is pulling out all the stops on the marketing front. Studio began a full-scale campaign six months before the film’s May bow.
03.30.2009 | By Pau Brunet |
DreamWorks Animation’s action comedy “Monsters vs. Aliens,” which features creatures from 1950s flicks in a showdown with invading extraterrestrials, launched itself into the No. 1 spot with a $58.2 million debut, according to studio estimates Sunday.
It was the biggest debut so far in 2009, topping the $55.2 million first weekend of “Watchmen” in early March.
Opening in second place was Lionsgate’s ghost story “The Haunting in Connecticut” with $23 million in ticket sales.
The previous weekend’s top movie, Summit Entertainment’s apocalyptic thriller “Knowing,” slipped to third with $14.7 million, raising its 10-day total to $46.2 million.
The big opening for “Monsters vs. Aliens” boosted Hollywood revenues after a couple of down weekends.
“Monsters vs. Aliens” was the latest success story for digital 3-D projection. While the 2,080 3-D screens accounted for just 28 percent of the roughly 7,300 on which the movie played, they made up 56 percent of its total box-office haul, said Anne Globe, head of marketing for DreamWorks Animation.
Tickets for 3-D movies typically cost a few dollars more than the 2-D version.
1. “Monsters vs. Aliens,” $58.2 million.
2. “The Haunting in Connecticut,” $23 million.
3. “Knowing,” $14.7 million.
4. “I Love You, Man,” $12.6 million.
5. “Duplicity,” $7.6 million.
6. “Race to Witch Mountain,” $5.6 million.
7. “12 Rounds,” $5.3 million.
8. “Watchmen,” $2.755 million.
9. “Taken,” $2.75 million.
10. “The Last House on the Left,” $2.6 million.
03.30.2009 | By Mack Chico |
Columbia Pictures is closing in on a deal to acquire screen rights to “The Limit,” with Tobey Maguire attached to star in the story of rival Grand Prix drivers.
Columbia is in negotiations to acquire Michael Cannell’s forthcoming novel, which Tony Peckham will adapt. Maguire will star as Phil Hill, who went against his good friend and Ferrari teammate Wolfgang von Trips in the 1961 Drivers Championship.
Move coincides with Maguire’s Columbia-based shingle beefing up its ranks by hiring veteran producer Jenno Topping, who will produce “The Limit.” Topping will oversee day-to-day production for the company and will produce movies for the company with Maguire.
Topping has had a first-look deal with the studio, either partnered with director Betty Thomas or by herself, for nearly a decade. Most recently, she produced the Jennifer Garner starrer “Catch and Release.”
At Maguire Entertainment, she will oversee a development slate that includes the Gary Ross helming vehicle “Tokyo Suckerpunch,” the bigscreen adaptation of 1980s TV series “Robotech” and the crime thriller “Good People,” which is based on a Marcus Sakey novel.
“We have worked with Jenno for a very long time,” Columbia prexy Matt Tolmach said. “She is a member of our studio family, so joining forces with Tobey is truly serendipitous. … There is an enormous comfort level creatively.”
Maguire is also producing “The Limit” alongside Cathy Schulman and Scarlett Lacey for Mandalay Pictures. Nick Reimond from Maguire Entertainment brought the project to the company.
“The Limit” will be published in the fall by the Hachette Publishing division Twelve.
Peckham recently scripted “The Human Factor,” the Clint Eastwood-directed Warner Bros. film, as well as a rewrite on “Sherlock Holmes,” the Guy Ritchie-directed film.
Topping’s other producer credits include “Guess Who,” the “Charlie’s Angels” movies and “28 Days.”
CAA brokered the film rights deal and Peckham is repped by WMA.
03.27.2009 | By Jack Rico |
*Updated 2026
In 2026, when action movies are either gigantic franchises or streaming throwaways, 12 Rounds is easier to see for what it was: a lean B-movie built to keep moving.
03.26.2009 | By Mack Chico |
Nicole Kidman will star in Woody Allen‘s next film, joining the already announced cast of Antonio Banderas, Josh Brolin, Anthony Hopkins, Freida Pinto and Naomi Watts.
The as-yet-untitled film is produced by Letty Aronson, Steve Tenenbaum and Jaume Roures. It is financed by Mediapro, the Spain-based company that also funded “Vicky Cristina Barcelona.”
Sony Pictures Classics will release Allen’s next completed film, “Whatever Works,” which opens theatrically on June 19.
Go to our film page
