Attention-Directing for Berlin and SXSW 2010

The 2010 Berlin International Film Festival begins tomorrow, and unfortunately I'm not going. I did, however, look through the complete line-up to find some of the more exciting films playing this year. One can only hope Noah Baumbach’s follow-up to Margot at the Wedding, Greenberg starring Ben Stiller, Greta Gerwig, Rhys Ifans and Baumbach's wife Jennifer Jason Leigh, is better than Margot, but we'll see...

Jud Süß - Film ohne Gewissen, a biopic of the actor Ferdinand Marian, is the latest from German director Oskar Roehler (Agnes and His Brothers), starring Moritz Bleibtreu and Martina Gedeck. Belgian directors Benoît Delépine and Gustave de Kervern (Aaltra, Louise-Michel) return with their dryly humorous blend of comedy with Mammuth, which stars Gérard Depardieu (with long, golden hair), Isabelle Adjani, Yolande Moreau and Anna Mouglalis.

Four years after she won the Golden Bear for the film Grbavica, Bosnian director Jasmila Žbanić comes to the Berlinale with On the Path [Na putu] about a couple in an unhappy relationship. Yoji Yamada’s (The Twilight Samurai) About Her Brother concerns a family who take over the family pharmaceutical business after the patriarch dies.

Writer/director Nicole Holofcener (Walking & Talking, Friends with Money) once again teams up with actress Catherine Keener for Please Give, a comedy about a husband and wife who own a furniture store. Rebecca Hall, Amanda Peet and Oliver Platt also star. Please Give premiered at Sundance. A director I often confuse with Holofcener, Lisa Cholodenko (High Art, Laurel Canyon), will also be in Berlin with her latest, The Kids Are All Right, with Julianne Moore, Annette Bening and Mark Ruffalo.

Always the envelope-pusher (though seldom with good results), Michael Winterbottom adapts a novel by Jim Thompson (The Grifters, This World, Then the Fireworks) into the graphically violent The Killer Inside Me, starring Casey Affleck and (groan) Kate Hudson and (double groan) Jessica Alba. IFC picked up the US rights to this after it premiered at Sundance. Kristen Stewart plays a teenage stripper/runaway in music video director Jake Scott’s (Plunkett & Macleane) Welcome to the Rileys. Also starring James Gandolfni and Melissa Leo.

Hong Kong filmmaker Scud offers the second part of his unnamed trilogy, Amphetamine, which began with Permanent Residence last year. If you’re curious, take a look at the bizarre lengths some Wikipedia user has gone to in describing the nudity in Permanent Residence. Sample: “As the Chinese actors' full-frontal nudity and unobscured private parts are shown many times, both Sean Li's and Osman Hung's glans penises (penis heads) are visible in every full-frontal nude scene (whether in a room, on a beach, water-platform, shower, etc), revealing that they have both been fully circumcised.”

Both Sébastien Lifshitz and Anahí Berneri are previous Teddy winners (for Wild Side and Un año sin amor respectively), and they both will be presenting their latest films, Plein sud [Going South] and Por tu culpa [It’s Your Fault], in the Panorama section. German queer filmmaker Rosa von Praunheim, Teddy winner in 1990 for Die Aids-Trilogie, will bring the sequel to his Überleben in New York, New York Memories, to Berlin this year.

Canadian director John Greyson has won 3 Teddys, for his feature Pissoir, his short The Making of Monsters and his documentary Fig Trees; his short Covered, an experimental film paying tribute to the organizers of the ill-fated Queer Sarajevo Festival in 2008, will play at Berlin this year. Olivier Ducastel and Jacques Martineau, who won a Teddy Jury Prize for The Adventures of Félix [Drôle de Félix] in 2000, will premiere their latest, Family Tree [L’arbre et la fôret], to Berlin after winning the Prix Jean Vigo. Family Tree stars Guy Marchand, Françoise Fabian, Yannick Renier and Sabrina Seyvecou.

2010 is already a busy year for James Franco. After a hilarious guest role on 30 Rock last month, he is playing Allen Ginsberg in Howl from directors Rob Epstein and Jeffrey Friedman (Paragraph 175), which also stars Jon Hamm (another former 30 Rock guest star), Mary-Louise Parker, Jeff Daniels, David Strathairn, Treat Wiliams, Bob Balaban and Alessandro Nivola. Howl premiered at Sundance and will screen in the Competition section, while two shorts directed by Franco, Herbert White and The Feast of Stephen (the former starring Michael Shannon), will play in the Panorama section.

More 30 Rock connections (it’s all I’ve cared to think about lately): Cheyenne Jackson is featured in Crayton Robey’s documentary Making the Boys, about the legacy of the play The Boys in the Band which was made into a film by William Friedkin. Making the Boys premiered at Outfest last year. Filmmaker Cheryl Dunye (The Watermelon Woman) directs a thriller entitled The Owls in which she and actress Guinevere Turner play aging lesbians.

The latest from Finnish director Aleksi Salmenperä (Producing Adults), Bad Family [Paha perhe], sounds wonderfully naughty. A brother and sister meet again as teenagers after their parents separate and fall in love. Following the German, New York and Tel Aviv editions of the series, Fucking Different: São Paulo is an omnibus of queer shorts from a group of young Brazilian filmmakers.

Postcard to Daddy is a highly personal documentary by Michael Stock, director/star of Prince in Hell, addressing his own molestation by his father as a child. Sadly underrated director Ira Sachs (Married Life, The Delta) will present his short, Last Address, this year, which is dedicated to the many, many NYC artists we’ve lost to the AIDS virus.

German filmmaker Angela Schanelec (Marseilles, Nachmittag) will debut her latest, Orly, in the Forum section. Bruno Todeschini and Natacha Régnier co-star in the German/French production. Constantin Popescu, one of the directors of Tales from the Golden Age, will make his feature debut with Portait of the Fighter As a Young Man [Portretul luptătorului la tinereţe], which follows a Romanian group of anti-Communists hiding in the Carpathian Mountains.

Hanna Schygulla will receive an Honorary Golden Bear for her contributions to both German and international cinema. Schygulla will also present four films she directed: Ein Traumprotokoll, Hanna Hannah, Moi et mon double and Alicia Bustamente. In addition to the films she directed, four of her most memorable performances will also play: Fatih Akin’s The Edge of Heaven [Auf der anderen Seite], Marco Ferreri’s The Story of Piera [Storia di Piera] for which she won the Best Actress prize at Cannes and two collaborations with Rainer Werner Fassbinder, Lili Marleen and Rio das Mortes.

Other new films: Submarino, d. Thomas Vinterberg (The Celebration); Shekarchi [The Hunter], d. Rafi Pitts (It’s Winter); Loose Cannons [Mine vaganti], d. Ferzan Ozpetek (Steam: The Turkish Bath, Saturn in Opposition), w. Riccardo Scamarcio.

The South by Southwest [SXSW] Film Festival also announced its line-up. The film portion of the festival begins on 12 March and runs until the 20th, while the music portion, arguably the raison d’être of the fest, begins on the 17th and goes to the 21st.

The Duplass brothers’ Cyrus, starring John C. Reilly, Catherine Keener, Marisa Tomei (with an awful haircut) and Jonah Hill, is among the Headliners, as well as the U.S. premieres of two Sony Pictures Classics titles, Jean-Pierre Jeunet’s Micmacs [Micmacs à tire-larigot] and Aaron Schneider’s Get Low. Mr. Nice, a biopic of criminal Howard Marks, directed by Bernard Rose (The Kreutzer Sonata, the Anna Karenina adaptation with Sophie Marceau), is also a part of the Headliners and stars Rhys Ifans, Chloë Sevigny, David Thewlis, Luis Tosar, Christian McKay and (!) Ken Russell.

Sevigny also stars in Barry Munday, co-starring Patrick Wilson, Mae Whitman (Anne Veal from Arrested Development), Judy Greer (Kitty Sanchez from Arrested Development), Malcolm McDowell, Cybill Shepherd, Jean Smart, Billy Dee Williams and Colin Hanks. James Franco will redirect his party to Austin, Texas to premiere his documentary Saturday Night which looks at all the behind-the-scenes action of Saturday Night Live. Carla Gugino plays a retired porn actress in her boyfriend Sebastian Gutierrez’s Elektra Luxx; also with Joseph Gordon-Levitt, Timothy Olyphant, Malin Akerman, Alicia Silverstone (!), Justin Kirk and Marley Shelton.

Easily the most exciting thing playing at this year’s SXSW Film Festival is the new film from Aaron Katz (Dance Party USA, Quiet City), entitled Cold Weather. Cold Weather again stars Cris Lankenau of Quiet City and sounds vaguely thriller-ish. It’ll be the one I’m keeping my eye on. The other title that has me enticed is Kerthy Fix and Gail O’Hara’s documentary on Stephin Merritt called Strange Powers: Stephin Merritt and The Magnetic Fields. The doc is ten years in the making (starting around the time of 69 Love Songs, I’d imagine). The Magnetic Fields’ new album, Realism, is also pretty outstanding if you haven’t picked it up yet.

Other films playing that premiered elsewhere: Harmony Korine’s Trash Humpers, Michel Gondry’s The Thorn in the Heart [L’épine dans le cœur], Bryan Poyser’s Lovers of Hate, Daniel Barber’s Harry Brown, Dagur Kári’s The Good Heart, Niels Arden Oplev’s The Girl with the Dragon Tattoo [Män som hatar kvinnor], Giorgos Lanthimos’ Dogtooth, Hélène Cattet and Bruno Forzani’s Amer, Gaspar Noé’s Enter the Void, Sean Byrne’s The Loved Ones, Bahman Ghobadi’s No One Knows About Persian Cats and Steven Soderbergh’s documentary about Spalding Gray, And Everything Is Going Fine.

All My Friends: Millennium Mambo, Take 3: Mike Hassler

For something like three years, Mike Hassler and I suffered working for the same horrible company, which is where we met and where my first impressions of him were from another co-worker who informed me that Mike really liked the movie Electra. Thankfully, I soon learned that his admiration for the Daredevil spin-off was neither a fluke nor indicative of his taste on a larger scale (thankfully). Shortly afterward, we would spend most of our time on the clock creating a real-time commentary for the Sister Act saga, throwing themed music nights (the soundtrack night/weekend was the highlight of which), making up elaborately perverse fantasy lives for the motley crew of customers we had to encounter every week and occasionally convincing one another to take home DVDs we wouldn't give a second look (sometimes out of curiosity, other times out of malice, often just to fuck with one another). Mike occasionally updates his blog Heteroerotica with film and music write-ups (and, yes, he was the one who chose his Amy Winehouse Halloween costume photo). Thanks, Mike.

On Film: I like to think I hit middle ground -- not too snobby, but people can point fingers. I haven’t had the time to watch or rewatch all that I would like to, but I’m happy enough with my list. I know I’ve forgotten things, and I’m positive I’ve jumbled the order so many times that they’re probably not in any particular order outside of the first few. Congrats to Greengrass for making it twice. [Editors note: Quentin Tarantino only made the list twice due to Mike including a 1999 film in the 25th spot.]

01. Oldboy, 2003, d. Park Chan-wook, South Korea
02. The Piano Teacher [La pianiste], 2001, d. Michael Haneke, Austria/France/Germany/Poland
03. Hedwig and the Angry Inch, 2001, d. John Cameron Mitchell, USA
04. The Squid and the Whale, 2005, d. Noah Baumbach, USA
05. The Diving Bell and the Butterfly [Le scaphandre et le papillon], d. Julian Schnabel, France/USA
06. The Shape of Things, 2003, d. Neil LaBute, USA/France/UK
07. Fat Girl [À ma sœur!], 2001, d. Catherine Breillat, France/Italy
08. The Beat My Heart Skipped [De battre mon cœur s'est arrêté], 2005, d. Jacques Audiard, France
09. Inside [À l'intérieur], 2007, d. Alexandre Bustillo, Julien Maury, France
10. Rachel Getting Married, 2008, d. Jonathan Demme, USA
11. OSS 117: Cairo, Nest of Spies [OSS 117: Le Caire, nid d'espions], 2006, d. Michel Hazanavicius, France
12. Once, 2006, d. John Carney, Ireland
13. Bloody Sunday, 2002, d. Paul Greengrass, Ireland/UK
14. A Bittersweet Life, 2005, d. Kim Ji-woon, South Korea
15. Inglourious Basterds, 2009, d. Quentin Tarantino, USA/Germany
16. The Incredibles, 2004, d. Brad Bird, USA
17. Chopper, 2000, d. Andrew Dominik, Australia
18. Murder on a Sunday Morning [Un couple idéal], 2001, d. Jean-Xavier de Lestrade, France/USA
19. Ip Man, 2008, d. Wilson Yip, Hong Kong
20. Love Exposure, 2008, d. Sion Sono, Japan
21. House of Sand and Fog, 2003, d. Vadim Perelman, USA
22. Mulholland Drive, 2001, d. David Lynch, France/USA
23. There Will Be Blood, 2007, d. Paul Thomas Anderson, USA
24. The Bourne Supremacy, 2004, d. Paul Greengrass, USA/Germany
25. Grindhouse, 2007, d. Robert Rodriguez, Quentin Tarantino, Rob Zombie, Edgar Wright, Eli Roth


On Music: Likewise here, I'm positive I've missed things, but decided to go with what I believe have had the most spins.

01. Radiohead - In Rainbows (2007)
02. Kings of Leon - Youth and Young Manhood (2003)
03. Lupe Fiasco - The Cool (2007)
04. Portishead - Third (2008)
05. Clipse - Lord Willin’ (2002)
06. Muse - Origin of Symmetry (2001)
07. Amy Winehouse - Back to Black (2006)
08. Coldplay - X & Y (2005)
09. PJ Harvey - Uh Huh Her (2004)
10. Queens of the Stone Age - Rated R (2000)
11. Thrice - Vheissu (2005)
12. The Damnwells - Air Stereo (2006)
13. Kanye West - College Dropout (2004)
14. Espers - II (2006)
15. Sigur Rós - Takk... (2005)
16. Louis XIV - The Best Little Secrets Are Kept (2005)
17. Doves - Lost Souls (2000)
18. Gnarls Barkley - The Odd Couple (2008)
19. The Strokes - Room on Fire (2003)
20. Iron and Wine - Our Endless Numbered Days (2004)
21. Ray LaMontagne - Trouble (2004)
22. The Roots - Rising Down (2008)
23. Interpol - Turn On the Bright Lights (2002)
24. The Darkness - Permission to Land (2003)
25. Depeche Mode - Sounds of the Universe (2009)

The Decade List: The Squid and the Whale (2005)

The Squid and the Whale – dir. Noah Baumbach

Though I’ve often heard Wes Anderson fans name Noah Baumbach as one of the reasons why The Life Aquatic with Steve Zissou failed to live up to his previous efforts, Baumbach’s solo endeavor The Squid and the Whale is one of the finer examples of the Sundance lot of American cinema in recent years. Unlike the films of Todd Solondz, the searing, trickle-down cruelty of the middle-class family unit comes in a much subtler package here. It certainly helps that Baumbach’s script is extremely funny on its own and that its humor doesn’t rely solely on venomous attacks on its characters.

Keeping the humor on snappy dialogue, like when Bernard (Jeff Daniels) asks son Walt (Jesse Eisenberg) if he understood that the story his student, played wickedly by Anna Paquin, read aloud in class was “about her cunt” or when Walt tries to impress his sort-of girlfriend Sophie (Halley Feiffer) by describing The Metamorphosis as “Kafkaesque,” allows the less-inclined viewer to overlook the despair and hostility of the Berkman family. Bernard and Joan (Laura Linney) make for hideous parents, so wrapped up in their own professional and sexual aspirations which both serve as a way of one-upping each other. Their own selfishness blinds them from the ways these actions affect their children: Walt, a plagiarist who has morphed his father’s admiration for beautiful women into his own form of misogyny against his girlfriend and especially his mother, and Frank (Owen Kline), whose hatred for his father manifests in drinking by himself and exhibiting maladaptive sexual behavior through compulsively masturbating in school.

Baumbach’s depictions of the New England intellectual set has suffered some misfires in the latter Margot at the Wedding and even his much-beloved Kicking & Screaming, but with The Squid and the Whale, everything congeals perfectly. While the film does suffer mildly from lacking a pinpointed focus, a common plight among other American independent films which typically fail as a result, The Squid and the Whale benefits from avoiding the acerbity that’s too common in films about unlikeable people.

With: Jeff Daniels, Laura Linney, Jesse Eisenberg, Owen Kline, Anna Paquin, William Baldwin, Halley Feiffer, Ken Leung
Screenplay: Noah Baumbach
Cinematography: Robert D. Yeoman
Music: Britta Phillips, Dean Wareham
Country of Origin: USA
US Distributor: Samuel Goldwyn Films

Premiere: January 2005 (Sundance Film Festival)

Awards: Directing Award, Waldo Salt Screenwriting Award (Sundance Film Festival)

Pushed, Crashed, Kicked

How many words are in the English language? A lot. Which is why I can't for the life of me understand why filmmakers choose to throw a title on their movie that's already been used. As I'm pretty useless at detecting sarcasm via the Internet, I actually thought Aaron Hillis at GreenCine Daily mistook that upcoming Dakota Fanning sci-fi flick Push with the Push that won the top prize at Sundance a few weeks ago on his Facebook page. The latter has been retitled Push: Based on the Novel by Sapphire, in order to distinguish itself from that other flick, but this is a trend that needs to stop. Because of this duplicity, I have to add "the David Cronenberg one" whenever I feel the need to bring up Crash, though it's a lot easier to just say "the good one." The same can be said for Kicking & Screaming, though I have no real preference between the Noah Baumbach one or the Will Ferrell one, so "the good one" doesn't really work there. On a side note, very little problems have arose in distinguishing between the two Party Girls (Nicholas Ray or Parker Posey) or The Rivers (you've got at least three notable films there: the Jean Renoir, the Tsai Ming-liang and the Sissy Spacek/Mel Gibson one). I guess the only solution for one of my greatest pet peeves is to just think of the same-name titles as one film. For Push, you've got Dakota Fanning as an illerate pregnant teen with telekinetic powers and Mariah Carey as her caseworker. And for Crash, Sandra Bullock is a racist who gets turned on by car crashes. Fine by me.

List #4: Questionable Praise

What’s perhaps more indicative of a person’s best of or worst of any given year is where they feel the general public has been mistaken. Certainly, frat boys and soccer moms galore will scoff at my pick of 300 for the worst film of the year (if you need proof, I believe Maxim magazine named it the best film of the year… that says it all). There are a number of critical bandwagons that always end up puzzling me, even if it doesn’t outright offend my sensibilities. Sean Penn’s Into the Wild was easily the most over-bloated junk of the year (hence it’s placement on my worst of the year list), but it was hardly the sole offender of a clusterfuck of a year where the only real agreement seems to have been that Cannes had a pretty phenomenal crop of films this year (No Country for Old Men, Zodiac, 4 Months 3 Weeks and 2 Days, Persepolis, The Diving Bell and the Butterfly to name a few). Here’s nine films (consider Into the Wild your tenth) that perplexed this reviewer as to their wild critical praise.

I’m Not There – dir. Todd Haynes – USA

I’ve been a long-time fan of Haynes ever since I got my hands on an edited VHS copy of his Poison. Haynes never really seemed to adhere to what most people would expect of him; after all, what would you have really expected him to follow Poison with anyways? There’s no doubt in my mind that he’ll never top the brilliance of Safe, but even with his haughty ambition in I’m Not There, I think I wanted something more than I got. Haynes has always been a visual director, though I wouldn’t say his films are necessarily from the same spectrum. Yet… I’m Not There feels like his best attempt to throw everything and the fucking kitchen sink into something that’s, well, a mess (purposeful or not, it’s still annoyingly untidy). You have Nicolas Roeg’s Performance, 8½, Don’t Look Back (naturally), and even Haynes’ own Velvet Goldmine. And what do you do with all that? I’m afraid I’m going to have to toss it back. I don’t usually like to spit upon others’ interpretations of films (unless, of course, you thought Into the Wild was painted with the stroke of God), but I think most of the praise for I’m Not There comes from looking really hard and trying to find something that’s really not there (no pun intended). Certainly, though, if you rummaged through someone’s messy house you’d likely find a stray twenty-dollar bill or maybe a great vinyl somewhere within the wreckage. I just don’t see why you’d want to find out.

The Savages – dir. Tamara Jenkins – USA

I always find the need to defend myself when I refer to something as “boring.” My definition of “boring” probably doesn’t mirror the general consensus; to go back to Haynes, I don’t think Safe is boring in the least (though I’m sure many would beg to differ). The Savages bored me to sobbing tears. It was the sort of boredom that would make most equate to watching paint dry. I’m serious. Laura Linney’s character, when discussing her as-of-yet-unwritten play, constantly begrudges her brother (Philip Seymour Hoffman), making sure he doesn’t think it’s terribly bourgeouis, and I can’t help but wonder if it wasn’t Jenkins voice coming out on the screen, shaken and uncertain as to whether anyone could muster up an ounce of caring for what might as well have been a pipe slowly rusting. Yeah, sure, the film was smart, unsentimental (thank God), and well-acted, but none of that added up to something I’d want to sit through again.

Margot at the Wedding – dir. Noah Baumbach – USA

What bothers me most about Margot at the Wedding was what preceded Baumbach on his way to another bitter tale of intellectual malaise. The Squid and the Whale was just wonderful. Absolutely fantastic, and yet it was one of those movies a friend of mine described as a film everyone raved about for the two weeks it was in theatres only to forget about it shortly afterward. And, yeah, that’s probably true. So with Margot, Baumbach needed something that would stick, not something that felt like a day-old coffee pot version of something he’d already made. I’ll watch Jennifer Jason Leigh in fucking anything, so when even her presence fails to hit me in the right spots, my alarm signal goes off. Margot is stale, familiar, and, worst of all, wholly forgettable. Like she does in To Die For and The Others, Nicole Kidman always makes for a great cunt, all tightly-wound with Botox, tin-lipped and viper-tongued. Most of Margot’s detractors complained that no one in the film was likeable, but it was precisely the opposite case for me. No one in Margot at the Wedding was nearly as dislikable as I would deem necessary to hold interest further than the first explosion of words between its snake-y characters.

I Don’t Want to Sleep Alone – dir. Tsai Ming-liang – Taiwan/Malaysia/China/France

I’ve never known anyone to casually like the work of Taiwanese director Tsai Ming-liang (or his compatriot Hou Hsiao-hsien, for that matter), as their films seem geared toward the most avid of international film aficionados. There’s nothing in the realms of accessible to their agonizing long-shots of, usually, nothing, and that was just splendid… for a time. With I Don’t Want to Sleep Alone, Tsai has continued this streak, painfully. What seemed like radiance and freshness in What Time Is It There? or Vive l’amour has grown tiresome. He doesn’t really break any new ground with his latest, and for once, I’ll stand by you, the MTV generation, and concur, “this shit is fucking tedious.”

Superbad – dir. Greg Motolla – USA

I’m one of those jerks that usually make for a bad person to ask about films. I’d decided, before seeing either, that I would hate Knocked Up and love Superbad for purely superficial reasons. Firstly, I laughed a grand total of once during Judd Apatow’s sketch comedy-cum-romantic yarn The 40-Year Old Virgin (and I saw that grueling two hour “unrated” version). I also don’t follow the notion that his beloved, cancelled TV series Freaks and Geeks was anything special. With Superbad, the crudeness seemed without Apatow’s signature schmaltz, without that thin message of acceptance that makes me run for the eject button on my DVD player. And it had that Michael Cera in it expanding his life past the criminally-axed Arrested Development where he proved to have the best comic timing of the whole bunch. Unfortunately, my expectations got the better of me, and I ended up sheepishly enjoying Knocked Up and just-about loathing Superbad. I don’t do zany, and I don’t do antics. And for every minute of awkward teenage dialogue about cocks and Orson Welles, there was another nine of zany antics. Superbad is a comedy of errors, and to throw a zing at ya, I made an “error” watching this crap. Yeah, see, that joke was about as funny as most of what I witnessed in Superbad.

This Is England – dir. Shane Meadows – UK

If I had one word of advice for filmmakers working today, I’d say, “lay off the cheap sentimental bullshit.” And I’d say it just like that. This Is England (what a stupid title) is director Meadows’ recounting of his youth during the early stages of the Thatcher regime, and, yet, hindsight for him is less 20/20, more a lousy sermon. I always want to go back to a quote from Bernardo Bertolucci where he criticized the youth of today for not rebelling against the forces that be like his generation did in the 60s (his own auto-fellatio can be seen in The Dreamers). Let’s face it, budding filmmakers, cinema hasn’t changed anything in this world in a long time. And it ain’t going to anytime soon. Therefore, you don’t need to be vomiting up lessons and messages to your potential audience (unless that lesson happens to be that lessons don’t do a damn thing… subversive, eh?). This Is England isn’t a complete waste and probably isn’t even one of the great offenders of 2007, but for garnering an impeccable 86/100 rating on Metacritic (a slightly better version of Rotten Tomatoes), I could have used my history lesson away from the pulpit.

Gone Baby Gone – dir. Ben Affleck – USA

I guess what confuses me most is whether critics actually liked this one or were just surprised that Ben Affleck happens to be a better director than he is an actor, because Gone Baby Gone isn’t phenomenal by any stretch. One of its main detractors, as I discussed in my review for it, was that Affleck chose to cast two primary cast members from the television show The Wire (Amy Ryan and Michael K. Williams), which may very well be the finest thing to grace television screens… ever. Affleck didn’t need the comparisons; in fact, I can hardly muster up any interest in any films crime-related any more after my eyes have officially been opened by the uncompromising brilliance of The Wire. Gone Baby Gone suffers from the Pumpkin syndrome: a film that ends with a bang, almost forgiving the missteps taken throughout the rest of its running time. Almost.

The Simpsons Movie – dir. David Silverman – USA

I haven’t watched anything from the latest seasons of The Simpsons, but general consensus is that, without most of their original writers, the show blows. Like Seinfeld though, when The Simpsons officially signs off the air, it will always be remembered for its high points instead of its low ones. Therefore, it won’t be remembered for The Simpsons Movie, an eighty-seven-minute expansion of what would have been a mediocre episode (despite the return of many of the series’ creators) in the first place. About a third of The Simpsons Movie is hysterical, but you’d really have to rack my brain to recall any of those moments (and I just saw it two weeks ago). Instead we’re left with a missed opportunity, the first (and supposedly last) foray of America’s favorite animated family onto the big screen.

Before the Devil Knows You’re Dead – dir. Sidney Lumet – USA

In my review of Sidney Lumet’s latest, I said something along the lines of “if Lumet chose to retire now, he’d retire on the high note he’d failed to achieve in the past twenty years of his career.” What I said was true; Before the Devil Knows You’re Dead is probably better than all of the films he’s made since the 90s put together. However, you have to consider that adding Critical Care, Gloria and Find Me Guilty together would result in something slightly better than the last Jennifer Lopez movie. Before the Devil Knows You’re Dead is one of those films that’s just “fine.” It’s well-acted by PSH, Marisa Tomei, and even Ethan Hawke (I think Albert Finney is kinda hammy here), and I love the kaleidoscopic structure of Lumet’s modern tragedy. And, yet, I still can’t muster up any real excitement for the film. Maybe it’s my loss here, but its universal praise strikes me the same way Gone Baby Gone’s does. Here’s a film no one expected to be good, it ended up being pretty decent, and the praise flew in. See Match Point for another example of a once-great filmmaker who’d been stuck making mediocre films for years, only to come back with something comparatively better with accolades to follow.

In looking ahead...

As the summer comes to a close, I’ve chosen not to do a wrap-up (after all I didn’t see most of the second installments of the franchises that rolled out their thirds this year), but instead look forward to see what’s on the horizon for Oscar season 2007.

September:

First off, the Yari Film Group will release Jake Paltrow’s film debut, The Good Night, starring his sister Gwyneth, Simon Pegg (Hot Fuzz), Danny DeVito, Martin Freeman (BBC’s The Office), and most excitingly, Penélope Cruz’s first post-Volver role (I sure hope she keeps it up). Word on the street is that it’s a weird one, and to quote one of my friends, “the older I get, the less I become interested in ‘weird films’.”

Strand will have, in very limited release, Eytan Fox’s follow-up to his moderately successful Walk on Water, entitled The Bubble. The film deals with queer youth and politics, and unfortunately, does not star Walk on Water’s magnificent Lior Ashkenazi.

It seems like A History of Violence just came out, but David Cronenberg has a new one, starring Viggo Mortensen again and Naomi Watts, entitled Eastern Promises. Watts plays a midwife trying to solve the murder of a dead prostitute, though I suspect the similarities to Mulholland Drive end there.

The Accused 2, you say? I wish. Neil Jordan pairs up with Hollywood’s favorite closeted lesbian, Jodie Foster, with The Brave One, which sounds like a classier I Spit on Your Grave, as Foster enlists payback on some rapists. With a handful of pre-production big-budget features, Jordan needs to prove himself bankable with this film, which will be out September 14th.

By now, you’ve surely heard the controversy surrounding Julie Taymor’s Across the Universe. Revolution Studios still haven’t revealed whether Taymor’s original version of the Beatles musical will be playing across the country or lame-ass studio head Joe Roth’s edited version. The film stars Evan Rachel Wood and newcomer Jim Sturgess, as well as smaller roles from Salma Hayek, Bono, and Fay Grim’s James Urbaniak.

I never really cared for François Girard’s The Red Violin, but plenty of classical music and history buffs sure do love it. Girard’s first film since Violin will star Michael Pitt and Keira Knightley and will be titled Silk.

Ang Lee will follow his Oscar win for Brokeback Mountain with a Mandarin-language thriller starring Tony Leung and Joan Chen, entitled Lust, Caution. In other September news, Wes Anderson’s The Darjeeling Limited will be coming at the end of the month. Count me out.

October:

The unexpected sequel of the year is no longer Fay Grim, but Elizabeth: The Golden Age, Shekhar Kapur’s continuation of Elizabeth. Cate Blanchett is back, and I’m sure, if nothing else, it’ll be really pretty.

Ryan Gosling, Emily Mortimer, Paul Schneider (All the Real Girls), and Kelli Garner (Bully) star in Lars and the Real Girl, a comedy that seems based on an HBO Real Sex episode. Gosling falls for a plastic girl he gets off the internet, and hilarity ensues. This could be really bad.

From the director of Hotel Rwanda, Joaquin Phoenix, Jennifer Connelly, Mira Sorvino, and Mark Ruffalo plays the leads in Reservation Road about the death of a young child. Sounds like fun to me.

Things We Lost in the Fire is not a cinematic adaptation of the Low album of the same name; instead it’s After the Wedding’s Susanne Bier’s attempt at some Oscar juice. Halle Berry and Benicio del Toro, both previous Oscar winners who’ve done shit since then, will weep it up, I’m sure.

According to the Internet Movie Database, Michael Haneke’s Funny Games remake will be in limited release just before Halloween. I’ve talked about this before, so it’s pretty clear that no matter what Haneke is up to, this is my most anticipated release of the year.

November:

Also according to the IMDb (I heard different reports prior), Richard Kelly’s abysmal Southland Tales will make its way, finally, to theatres on the 9th of November. No word yet to whether it’ll be the Cannes version, which was murdered by critics, or a new cut. Either way, Donnie Darko fans can finally rejoice.

Number two most anticipated film of the year: No Country for Old Men. The Coens’ latest has gotten across-the-board praise (though it left this year’s Cannes empty-handed). Josh Brolin and Javier Bardem are supposed to be fantastic. Meet me in line.

Noah Baumbach’s latest, Margot at the Wedding (which sounds like an Eric Rohmer title), will star Nicole Kidman and the always-wonderful and always-overlooked Jennifer Jason Leigh. Let’s hope he doesn’t fall face-first after his wonderful Squid and the Whale.

December:

Another year, another Woody Allen movie. Cassandra’s Dream will take place in London, à la Match Point, and will not star Scarlett Johansson, thankfully (though she’s currently in the one he’s making for 2008). The cast includes Colin Farrell, Ewan McGregor, and Tom Wilkinson.

Tim Burton’s long-awaited adaptation of the Broadway hit, Sweeney Todd, will hit theatres a week before Christmas. Unfortunately, his muse/soon-to-be-baby’s-momma Helena Bonham Carter will play the romantic lead opposite Johnny Depp.

Julian Scnabel’s The Diving Bell and the Butterfly, starring Mathieu Amalric, Emmanuelle Seigner, Marie-Josée Croze, Max von Sydow, Jean-Pierre Cassel (in one of his final roles), Isaac de Bankolé, and Emma de Caunes, will be out from Miramax just before Christmas as well (though I doubt it will spread wider until the new year). The film won a best screenplay award at this year’s Cannes.

Certainly more releases will pop up in the few months, so keep your eye out and let me know.