• Taxing Time: A Screengrab Salute To Beat The Clock Cinema (Part Three)

    CELLULAR (2004)



    Despite flying under many moviegoers’ radars in 2004, David R. Ellis’ Cellular is a crackerjack thriller that overcomes its somewhat preposterous central conceit via unflagging breakneck energy. Co-written by B-movie master Larry Cohen, the story hinges on a kidnapped woman (Kim Basinger) using a smashed telephone to make a random call to the cell phone of a stranger (Chris Evans). Basinger successfully convinces Evans to help her escape her predicament, though complications arise at every turn, from dying cell phone batteries, to the cops’ unwillingness to lend a hand, to a bit of signal-crossing that forces Evans to steal someone else’s cell phone and car. Bolstered by a strong cast that also includes Jessica Biel as Evans’ ex-girlfriend, Jason Statham as Basinger’s kidnapper, and William H. Macy as a police officer, and enlivened by director Ellis’ no-nonsense, pulse-pounding orchestration of his various high-wire set pieces, Cellular remains the type of efficient, no-frills genre flick that Hollywood has – save for the rare exception – mostly given up on in favor of high-concept, big-budget spectaculars. (NS)

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  • Remaking "Sideways" for the Japanese Market

    Ari Karpel reports on recent developments in the field of remaking major feature films for foreign audiences. When talkies first came in, it was standard practice at many Hollywood studios to shoot foreign-language versions of new movies at the same time the English-language releases were being made, sometimes with the original stars babbling their dialogue in phonetically learned Spanish. In some rare cases, such as that of the Spanish-language version of the 1931 Dracula, directed by George Melford and starring Carlos Villar as the Count, these instant remakes have shadow reputations among cultists who hold that they're more cinematically inventive than the movies they were spun off from. But the practice died out as soon as some genius invented dubbing. But, writes Karpel, "As film industries in China, Russia, Japan and India have grown exponentially, particularly when it comes to homegrown fare, United States studios have taken the phrase 'Think globally, act locally' to heart. Nearly every studio has set up an international operation for producing and distributing original movies made in local languages. Now a handful of those studios are scouring their catalogs, seeking films (box-office smashes and middling performers alike) to remake for new audiences." For a start, the "Walt Disney Company is turning its High School Musical franchise into a cottage industry, redoing the teen song-and-dance phenomenon one country at a time." The real trick, though, is finding solid material that can be translated into something appealing to foreign audiences but that wasn't such a megaton international hit the first time around that seeing it again with a local cast would strike filmgoers as redundant. Taking that into consideration, a movie like Titanic is less tantalizing than something like the crackerjack 2004 thriller Cellular, with Kim Basinger and William H. Macy, which was recently turned into a a Chinese film called Connected. And then there's Sideways, Alexander Payne's much-loved, middle-aged road comedy starring Paul Giamatti as a failed novelist and alcoholic wine connoisseur and Thomas Haden Church as a TV actor hell-bent on enjoying one last fling before his wedding. A Japanese remake, still called Sideways but with the lead characters' names changed from Miles and Jack to Michio and Daisuke, is currently in production.

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