The Screengrab : sex

Screengrab Death Watch: Day One

Andrew Osborne — Wed, 29 Apr 2009 11:49:00 GMT

And now, the end is near, and so we face the final curtain...

Yes, it’s true...as it turns out, the shitty economy, global warming, the death of print media and the looming Swine Flu pandemic are only the tips of the iceberg of sadness we’ll all have to deal with this year.

We learned yesterday that Nerve.com will be shuttering some of its culture blogs including...(sniff, sniff)...this one: sad to say, the Screengrab is not long for this dirty old world.

So enjoy our beloved, non-commercially viable coverage of the cinematic universe while you can...and stay tuned for plenty of clip-show nostalgia, maudlin eulogizing, a heart-tugging farewell song from Bette Midler and, in a last-ditch attempt to boost hits, 100% more gratuitous Tits & Ass...like, uh...that chick from The Hills showing her butt!

Screengrab Q&A: James Toback

Nicole Ankowski — Wed, 22 Apr 2009 11:00:00 GMT

By Emily Wilson

It's been over twenty years since Mike Tyson became boxing's youngest-ever Heavyweight Champion of the World. In the decades since, his demons outnumbered his titles, and the former bruiser became better known for his addictions, ear-biting and uncontrollable temper than for his victories in the ring. Filmmaker James Toback (The Pick-up Artist, Fingers, Bugsy) aims to bring some nuance to that image with his new documentary, Tyson. And he may succeed; the film was lauded at Cannes and Sundance, with Tyson himself saying, "I'm afraid of how much money and how much pussy I'm gonna get."

A self-styled provocateur, Toback has always been able to raise a tempest around himself and his extensive network of celebrity associates — perhaps because the line between him and his subjects, between his art and his life, has never been clear. As a young journalist in 1971, he was assigned a piece about Jim Brown; he ended up moving in with the football-legend-turned-actor and writing a memoir about the endless orgies at Brown's house. His film career, in many ways, has continued to blur that line, with extra provocation whenever possible. One scene in 1999's Black and White finds Tyson himself — as himself — politely deflecting the advances of a pushy Robert Downey Jr., before suddenly and shockingly punching him in the face.

The same charisma Tyson displays in that unforgettable moment animates Toback's new documentary, essentially one long interview with a very willing subject, interspersed with impressive archival footage. Tyson opens up about his childhood, turbulent relationships, addictions, prison, and the intimate, twenty-year-long relationship he and Toback have shared. It's a mesmerizing film, and perhaps Toback's best. Nerve spoke with Toback about friendship with a man whom many consider a monster.

You've known Mike Tyson for over twenty years. How did you first meet?
It was quite unexpected. He came to the set of The Pick-up Artist to meet Robert Downey Jr. He and I started talking, and we hit it off. We took a long, long walk at five in the morning through Central Park. He'd just met Jim Brown, and I had lived up at Jim's house for a couple of years. He was fascinated to find out about all the wild activities there. I told him about my flip-out on LSD when I was his age, nineteen. He was very interested in the whole notion of madness and what it meant to go crazy. His mind was very curious, in particular about that subject. I wasn't all that surprised when, years later, he flipped out, when he was in solitary confinement. In fact, he told me the first thing he thought was, "This is what Toback was talking about."

How did you stay in touch? Did you meet up or call one another?
I'd call him out of the blue. Or I'd get a call at four in the morning and he'd say, "Jim Toback, Mike Tyson." And two hours later we'd say goodnight.

Did you always talk about heavy subjects?
Yes. There was no small talk ever. Not a syllable. Very much like in the movie.

How did you decide to make this film?
It was clear to me we'd have some extremely interesting episodes together, and over the years we did. They just happened organically. There was this constant sense of invention and renewal. I felt when he came out of prison after the long stay, that would be a great time to use him because he was — and still is — an icon in the hip-hop world. I was doing [this movie about hip-hop] with the Wu-Tang Clan, Black and White. He fit very naturally within the framework of the film.

In Black and White there's a scene in the gym where he speaks in a self-reflective, meditative way about murder and humiliation in prison. I thought that voice, if I find the right cinematic style, would make a great self-portrait, filtered through my own aesthetic. I talked to him about it right away and he was all for it. It was just a question of finding the right time.

And what made this the right time?
The death of my mother, which made me feel I had to get to work on something right away or I'd have a real problem functioning at all. And he'd just been arrested for cocaine possession and was in rehab. I thought: this is going to be a period of time he can indulge in self-analysis and reflection, without having the kind of fractured, frantic life he usually has.

Do you feel you had a lot in common?
In some odd way, by making a movie about him, it raised all these subjects that all of my movies deal with: identity, and the loss of it; madness; sex; love; crime; money; death. The less likely the scenario, the more interesting it is to me. So to take a subject, namely Mike Tyson, where the backgrounds and the origins and any number of [other] superficial differences would suggest a lack of communion — and then to find there are these rather fascinating connections — made it all the more interesting.

Some of the film is painful for Tyson; he cries at certain points. Why did he agree to make this film?
First of all, clearly, he is shy on one level. But he's one of the most famous people in the world, and it's not by accident. He has a need to be known and to be understood. I think that was part of it, but I think he has a confessional nature, too. Strict Catholics find a confession booth sufficient to answer that need. Maybe Tyson's needs are a bit more unusual.

In the movie he talks about his tumultuous relationships with women.
Numerically he's had so many experiences with women, you'd almost have to say the law of averages would suggest there'd be a certain amount of problems. If your life revolves around five or ten women, you might be able to get away with a pretty tranquil existence. But at five or ten thousand, you're gonna have some mistakes.

How will this film changes people's preconceptions of Mike Tyson?
There are quite a few people who go in with a conception of him as a convicted rapist and ear-biter. And when they come out, they feel a sense of shock — that he has moved them the way he has, and that they feel that they know him in a way they didn't expect to.

Did you consider interviewing Tyson's friends, or critics, for the film?
No. It only could have been this kind of movie. I had no interest at all in making the movie that was a poll of various people's views. The whole idea was to take advantage of this opportunity, to have a special, personal perspective about himself.

You say you think of him as a figure out of Greek tragedy.
Well, he's the one who said, "It's like a Greek tragedy; the only problem is, I'm the subject." As in classic Greek tragedy, you have a large-scale figure who has risen against all odds by dint of his own capacity, strength and ability — and then has brought himself down by an act of hubris.

What was his act of hubris?
Thinking he could get away with anything — handle problems and challenges that needed rigorous discipline [without that discipline]. Thinking he could get away with succeeding in the way he had, because of his [past] discipline.

How do you feel about the film?
You know, you have a general feel for what a movie is supposed to be when you start it — and [afterwards] you might feel you fulfilled it, or almost fulfilled it or, didn't come close to fulfilling it.

In this case, I think it's probably the first time it actually went beyond what I could have imagined. I didn't know it was possible to feel that. I look at it, and my imagination of what it might be is less than what it is. Whereas in previous films, I felt like this is what I wanted, or this isn't quite what I wanted. Or, in the case of Love and Money, this isn't close to what I wanted.

Tyson opens in select cities this Friday. James Toback is being honored, along with Robert Redford and Francis Ford Coppola, at the San Francisco International Film Festival, running April 23 to May 7.

Screengrab Q&A: "In A Dream"

Nicole Ankowski — Wed, 08 Apr 2009 11:00:00 GMT

When he was nineteen, Jeremiah Zagar began to film his father, Philadelphia mosaic artist Isaiah Zagar. He continued to follow him around with a camera for seven years for what became the documentary In a Dream.

Jeremiah set out to capture his parents' love, which is the creative force at the source of their family and their art. Then, one day, as they go to pick up Jeremiah's brother from rehab, his parents' forty-three-year relationship crumbles. Seemingly out of nowhere, Isaiah admits, on camera, that he has been having an affair with his assistant for years.

In a Dream, which has won multiple awards on the festival circuit, resonates far beyond the specifics of the Zagars' story. Their marriage is in some ways quite traditional; it is the core of a nuclear family, but their love also comes across as an unconventional artistic endeavor by two freethinking people.The film examines the dysfunction and self-mythologizing inherent to love and family. It's also, ultimately, a comforting film that leaves you believing in love in a way a romantic comedy never could. — Sarah Clyne Sundberg

You started filming In a Dream when you were nineteen. What did you think you were doing when you began?
I had no idea. I was really young and came home for the summer. My mother said, "Why don't you film your father?" He and I went down to West Virginia together and did these very intimate interviews. From those interviews it was clear that the movie would be about a man who wanted to make sense out of his memories. It was also going to be a love story.

Why do you think your mother wanted you to film your father?
I think she just wanted us to be closer. Everyone in our family respects the opinion of my mother. If she asks you to film your father, you do it. I think her intuition is based a lot on family. She wants to keep her family together.

In one sense the film is a very specific love story: one person, one family. But it’s also universal. I think many people come to a point growing up where their parents become real people.
Certainly that happened with my father. That part of the movie wasn't intentional. You view your parents as mountains, then at a certain point you see them as people. Though my mother will always remain a mountain for me, I can see her humanity too. It is very clear, when my father left her, how fragile and lost she was. It's wild to watch your parents disintegrate and become people. I'm lucky that I didn't have to experience it until I was nineteen years old, because some children experience it when they are six or seven.

You barely appear in the film. Was the camera a buffer?
The camera is a shield, a way to be with people without breaking down emotionally. Without it I would never have been able to suffer my parents. My father is exhausting. With the camera it becomes something you're doing. There were moments when I would start to cry and I would take the camera away and then I would take the camera back.

Did your family behave differently because you were filming?
Differently and awkwardly are two separate things. In the beginning my father behaved awkwardly. Eventually the camera became a character in itself. As opposed to making things unnatural, it brought out his honesty. That is true of my mother and my brother too. When the camera was on it was like there was a questioning force in front of them, someone asking them to be intimate, to be honest, to be real, to not pretend.

Did it ever catalyze situations?
I don't think my father would ever have told my mother he was cheating on her that day, if there hadn't been a camera there. Whether it made me question him, or simply was an unbiased eye looking directly at him, I don't know, but I doubt he would have spoken otherwise.

Have your parents seen the movie?
Oh yes. My parents are big fans. In the end it is a beautiful representation of the two of them coming through. [Though] my mother doesn't like to watch it. Neither do I. [My father] called me the other day. I heard the end credits playing in the background. I said, "Dad, what are you doing?" He said, "I'm watching the movie." I said, "You're watching the movie? Again? Well, what's it like?" He said. "It's really good, I like the characters."

At one point it says "Part 2: The end of an era."
The "era" is the belief in the strength and perfection of the family structure. No longer is the family invincible, we understand that our family is fragile and that we need to work on holding on to each other. I think every family needs to realize that at some point. It is the same thing with The Godfather, essentially.

Your mother, Julia, says at one point, "I lost my whole belief system."
If we are built from memories, then we are also built from each other. You spend your whole life building something with someone, forty-two years. All your memories are constituted of that person, and when that person leaves you it is going to break you.

Was there anything that anyone told you that really shocked you or surprised you?
Yes, and a lot of it isn't in the movie. There are certain sexual things that my parents told me that I never want to hear again. At a certain point you ask them anything and they are going to tell you anything. My mother told me about my father's inability to please her at certain points in her life. I wasn't shocked by the idea, but I was shocked that she would tell me. She even said, "I don't think you want to hear this."

Were you surprised when your father revealed his history as the victim of sexual abuse to you?
I was surprised by the way he told it. I had never seen him register the pain of the moment before. I've heard him tell the story before, but not like that. [He'd always told it] like it was a joke. I'd never heard it like it meant something.

What was it like to ask about your father's sexuality?
It was exciting. It is important to see your parents as human beings and an exciting process for a child to go through. Parts were terrifying. It is important to know that your parents are as fragile as you and that you can achieve what they can achieve. Or less. They are your strength and your weakness.

Had you seen the old Super-8 footage before?
I'd never seen any of it. My father said, "I have seventeen books of slides in the closet" or "I think there are a couple of movies about us from the '70s that people made." He has 40,000 square feet [of art] that people see every day. But he has warehouses full that no one will ever see. He has notebooks with drawings stacked up to the ceiling. I can't even explain to you. There are stacks and stacks of rolls of paintings.

There are these scenes where it looks as if he is walling himself in with his enormous mosaics.
That's what we wanted to communicate. It can either be a prison or it can be a paradise.

Was there anything you struggled with whether to include?
Because the film had to revolve around the love story, there was a lot of stuff that I lost of him as a youth that I love. [And] there is a scene that I called "Paints on Ceilings" that I ended up making into a short film. He is describing how he began painting as a child. He was drawing in his coloring book and then he decided that the lines were too binding, so he started to draw on the table and the refrigerator and the ceiling. Then his mother's scream was suddenly the catalyst for him to become an artist. He was so excited after she screamed that he decided that he wanted to draw everywhere and make the world scream.

It's like Harold and the Purple Crayon.
My father's story is totally like Harold and the Purple Crayon.

Is there anything that is in the movie that you were on the fence about including?
The shit scene. My editor, who really brought out the beautiful soul of the movie, said, "That scene makes your father very unlikeable. How can you relate to somebody who shits in their own hand?" I thought, if you don't like him after that, you are not going to like him at all. It is one of those things that are so emblematic of who he is. He is someone who finds beauty in the most horrible things.

You come away from it feeling that there is love in the world.
You want to let people know that. It's not so neat and tidy, but it is possible.

In a Dream premieres at Cinema Village this Friday, 4/10. Jeremiah Zagar and subjects Isaiah and Julia Zagar will appear at 8:00pm & 10:00pm showings on Friday. Special appearance by director Jeremiah Zagar at 8:00pm & 10:00pm showings on Saturday, 4/11.

Sundance Do-Overs: When the Buzz Turns to Fizzle

Phil Nugent — Mon, 26 Jan 2009 20:00:00 GMT

The Sundance Film Festival, America's largest and arguably most influential showcase for independent movies, has just wrapped up its twenty-fifth, or thirtieth or eighteenth, installment, depending on who's counting. The earliest version of Sundance, the Utah/US Film Festival, was first held in Salt Lake City in September of 1978. From the start, it reflected the taste and interests of its celebrity mascot Robert Redford, the festival's inaugural chairman; the first awards jury included Redford's Butch Cassidy and the Sundance Kid co-star Katharine Ross, who was already at a point in her career where she must have been grateful for the work. In 1981, the festival moved to Park City, where the annual date would eventually be shifted to January to take advantage of the attractions of the ski resort there. As far as Sundance is concerned, "Sundance" began in 1985, when management of the then-struggling festival was taken over by Redford's Sundance Institute, which he ran with festival co-founder Sterling Van Wagenen. By the time the Festival had its biggest, buzziest hit to date with Steven Soderbergh's 1989 sex, lies, and videotape, insiders were routinely referring to it as the Sundance Film Festival, though the name wouldn't officially change until 1991.

sex, lies, and videotape, followed by the likes of Reservoir Dogs, Clerks, Hoop Dreams, and other films, would establish Sundance as a major way station for the films and filmmakers that would define the American indie movie scene in the 1990s. Today the festival is one port of call among many for new moviemakers looking to get some attention, but it remains the recognized big daddy of indie festivals, inspiring all the respect and resentment that label implies. Anyone looking to get a sense of the shape of movie fashions since the mid-1980s could do worse than to examine a list of all the movies that have been rewarded with prizes and press attention after playing Sundance. And, it goes without saying, that history includes some wrong turns.

STACKING (1987): Never one of the best-known of all Sundance entries and now one of the most thoroughly forgotten, Stacking is of interest only for the degree to which it sums up everything that was typical, and typically unappealing, about "indie film" before Soderbergh and company stormed the castle. Back then, it wasn't called independent filmmaking but "regional cinema", and wiseguys had another name for it: granola movies. The regions depicted in regional cinema tended to be those that were said to represent the American heartland, and which could be faked on location in Canada. They tend to feature stock characters--the stolid farmer trying to hang onto his land in the face of changing times, the bored wife wondering where her frisky youth frisked off to, the confused teenager with potential literary gifts, the sexy stranger who's just passin' through--who are often played by good actors earning cinematic karma points. (The cast of Stacking, for instance, includes Christine Lahti, Frederic Forrest, Peter Coyote, James Gammon, and Jason Gedrick.) The reigning master of granola cinema is Victor Nunez, a Sundance perennial fixture who helped launch Ashley Judd's career with the 1993 Ruby in Paradise and Peter Fonda's comeback with the 1997 Ulee's Gold, though his own career, and granola cinema in general, may be best summed up by the title of his early feature, Gal Young 'Un.

For whom were these movies made? Even when they managed to acquire a theatrical release, as Stacking did, they never got far out of the major cities before twitching to death in the hot sun. Certainly there was no audience for them among the people whose lives they tried to ennoble. Speaking as someone who grew up in a rural farming community, I can tell you that nobody who spends his days working on a farm wants to blow his mad money on the chance to watch some poor bastard wonder whether he'll be able to get this year's crop in. Basically, they were made only for the people who'd see them at a festival like Sundance: educated liberals who felt virtuous from seeing people in denim and broad-brimmed hats being boring on-screen and critics who enjoyed denouncing the public for not making these fine, well-meaning movies as successful as Lethal Weapon. One reason they're such period pieces now is that they were made before people started thinking in terms of the Red State/Blue State divide, which makes them bittersweet reminders of a time not so long ago when educated big-city liberals thought of the people who grow their steaks as dull but honorable tillers of the soil instead of that pack of dumbasses who re-elected Bush.

IN THE SOUP (1992): It's not exactly unheard of for a movie to be greeted with awards and recognition at Sundance and then die on the vine when it's sent out into the cold, unfriendly world to fend for itself. That was certainly the case with this comedy, starring Steve Buscemi as an aspiring filmmaker and the veteran character actor Seymour Cassel as a Life Force, which was directed and co-written by Alexandre Rockwell, the rtist formerly known as Mr. Jennifer Beals. (Beals is in it, too, as are Jim Jarmusch, Carol Kane, Stanley Tucci, Debi Mazar, Sam Rockwell, and the late '80s indie stalwart Rockets Redglare.) The movie's Grand Jury Prize wouldn't be so embarrassing if it weren't for the competition: among the movies it beat out was Reservoir Dogs, which got a legendary bad reception from a festival crowd put off by its violence and gaudy showmanship. You don't have to be a Tarantino enthusiast to compare the reaction his movie got to the soft, clumsy whimsey of Rockwell's and feel that Sundance, just three years after sex, lies... had taken it to a new level, was already in danger of seeming out of touch. Nothing Rockwell ever did again would garner as much attention; his biggest break came when Tarantino invited him to contribute a segment to the disastrous implosion of a multi-director feature, Four Rooms. The real winner of this round would be Steve Buscemi, who could boast of having starred in the year's big hit at Sundance and also having a breakout role in the real-world hit that smoked the Sundance hit.

THE BROTHERS McMULLEN (1995): Never has anybody gotten more out of a pretty face and a knack for making connections--he was working in the offices of Entertainment Tonight while making his movie and managed to slip a copy of the film to Redford himself when the great man was on ET plugging Quiz Show--when he had nothing, literally nothing else, to back it up than McMullen star and auteur Edward Burns. Burns's movie, which won the Grand Jury Prize at Sundance and went on to be a modest hit in theaters, was a half-assed sitcom that benefited from his lack of an eye and his inability to parlay his $28.000 budget into a halfway-decent-looking or decent-sounding movie; for a while, people taken with Burns's puppy-dog eyes, floppy locks, and the notion that making a movie while working as a production assistant on Entertainment Tonight counted as a struggling-artist story assumed that the rough poverty-row look of the film must confer artistic respectablity on it. Burns cleared up any lingering misunderstanding with his second film, She's the One, where his lame script was given a pricey big-studio mounting and consequently just looked lame. (He also publicly humiliated his McMullen co-stars Mike McGlone and his then-girlfriend Maxine Bahns by casting them alongside real actors such as John Mahoney, Cameron Diaz, Amanda Peet, and Frank Vincent. McGlone's "performance" in She's the One, which consisted of having a petulant, screaming fit in just about every scene he was in, made him in particular look like a prime candidate for the title Supreme Asshat of the Known Universe.) Burns has directed half a dozen movies since then, none of which has garnered any real attention; he also acts, sort of, in better directors' films, most notably in Saving Private Ryan from back in the days when his name had some heat attached to it. Technically, his name still does, in the sense that he now must spend a certain amount of time wondering if he's obligated to correct people who think he's the Ed Burns responsible for The Wire.

THE SPITFIRE GRILL (1996): This movie about misunderstandings and redemption in rural Maine was the only feature film written and directed by Lee David Zlotoff, best known for his work in TV, as a writer and producer on such series as Remington Steele and Navy NCIS: Naval Criminal Investigative Service. The real creative force behind the movie was Roger M. Courts, a direct mail fundraiser and CEO of a Mississippi-based Catholic fund-raising organization called the Sacred Heart League, Inc. Courts was interested in making a movie that could serve as a film equivalent to the "testimonial" literature religious groups passed around, and he spent many years looking for a script that had what he saw as the right mixture of Christian teaching and solid narrative values. He decided that he'd found it in Zlotoff's screenplay about a young ex-con (played by Alison Elliot) whose death at the end of the movie turns her into the fresh-faced Christ figure of Pepperidge Farm. It seems likely that the humanist audience at Sundance missed the religious undertones completely and simply took the movie's heavy-handed moralizing and rustic dullness as a throwback to the good old days of "regional filmmaking", and that the movie won the festival's Audience Award partly on the strength of nostalgia for the days before Miramax deals and Tarantino rip-offs. Ironically, the movie's popular success at the festival led to a high-priced bidding war among distributors. In the end, it was Castle Rock Entertainment that paid top dollar for the privilege of seeing the movie crash and burn in theaters later that year. The material has since found its true level as a play (with a de-sacrificial happy ending) that is popular with regional theater groups.

HAPPY, TEXAS (1999): Sometimes, the family vibe at a big festival, where a lot of steady filmgoers mix and mingle with filmmakers, can inspire a certain amount of self-deception. This godawful comedy, starring Steve Zahn and Jeremy Northam as escaped convicts posing as gay beauty pageant directors (while Northam fends off the advances of gay small town sheriff William H. Macy), was received with rhapsodic abandon at Sundance, which can best be interpreted as an explosion of love for Steve Zahn, who had delivered a steady stream of amazing supporting performances in such movies as Reality Bites, That Thing You Do, and Out of Sight, and who had his biggest role to date here. He won the Grand Jury Prize for his performance, which isn't completely off the wall: he's very funny in it. But Miramax's decision to shell out what was variously reported as anywhere from $2.5 million to $10 million dollars for the movie itself proved, shall we say, ill-advised. At the time of the purchase, there were actually outraged bleatings in the trade press from people complaining that Miramax got all the cool movies. But after Happy, Texas collapsed in theaters, the movie would be remembered only as the centerpiece of stories about how Harvey Weinstein couldn't be trusted alone with his checkbook at Sundance.

J. Hoberman on "Che" in VQR

Phil Nugent — Mon, 19 Jan 2009 15:30:00 GMT

The excellent new issue of Virginia Quarterly Review, which is devoted to the fifitieth anniversary of the Cuban revolution, includes a J. Hoberman essay on Steven Soderbergh's epic biopic Che, starring Benecio Del Toro as Ernesto Guevara. "Within eighteen months of his death, this instant immortal had been embalmed—in the form of Egyptian matinee idol Omar Sharif—by Twentieth Century Fox, as the subject of a tediously self-important and ridiculously old-fashioned Hollywood biopic. Early evidence of the hyperreal: noting the production’s budget, John Leonard observed in the New York Times Magazine that making a movie about revolution was considerably more expensive than the revolution itself, 'about $10,000 an hour.' ” Hoberman describes the intentions behind that clueless turkey (which co-starred Jack Palance, in a Silly Putty nose, as Fidel Castro), as having been "in the tradition of Fox’s 1952 Viva Zapata—a melancholy, heartfelt, prestigious, star-spangled tribute to revolutionary failure" starring a "hardcore New Left action tough guy." Actually, as Che's resurrection via T-shirt image (the history of which was described in the recent documentary Chevolution shows, he was the guerrilla as rock star. Consciously or not, most of his modern fans understand him as being part of the lineage of hip rock martyrs that includes Jimi, Janis, the lost Rolling Stone, and the Lizard King. More recently, Gael Garcia Bernal played the hunky young (pre-"Che") Ernesto in the Sundance-friendly The Motorcycle Diaries, based on a road trip the lad took with a buddy, a trip that was immortalized in a book that appeared more than twenty years after his death. Directed by Walter Salles (with Robert Redford acting as executive producer), it was a gorgeous-looking movie that gave receptive audiences the chance to admire it's hero's liquid eyes and bone structure while he visited peasants in pastoral settings and felt his yet-unformed social conscience become all tingly.

Is Soderbergh's Che a history lesson or the latest act of what Hoberman calls "co-optive commodification"? It "remains a film object—a thing to be experienced. The movie demands to take its time, with both parts taken in at a single sitting." Hoberman, who saw the film at last year's Cannes Film Festival before Soderbergh took a scalpel to it, reports that "Many initial viewers were confounded to the degree that Che appeared as a non- or even an anti-biopic. Despite a stellar performance by Benicio Del Toro, who had initiated the project some years ago with Soderbergh as producer and Terrence Malick attached as writer and director, Che presents its subject almost entirely as the protagonist in the context of two specific events. Moreover, the director seemed to keep his distance and reserve his judgment. Skillfully didactic, as well as nervily dialectical, this feel-good/feel-bad combat film thus had less in common with the touchy-feely Motorcycle Diaries than with Peter Watkins’s spare, self-reflexive reconstruction of the Paris Commune, La Commune (Paris, 1871)." However, since its premiere, "Soderbergh has tweaked his movie's first half in ways that soften its strangeness and blunt its intellectual range." These additions, which interrupt the story of the revolution with flash-forwards to Che's life as a political celebrity during a trip to New York, serve the purpose of "Annotating the past with the 'present' and tightening the movie’s overall sound/image connections," even as "these inserts do allow for another sort of dialectic, but their presence serves to subtly normalize Soderbergh’s distancing strategy. (Or what was taken to be his strategy. “With all the subtitles, we thought it was Jean-Luc Godard,” a colleague joked.)"

"Che," Hoberman writes, "is an act of will rather than a work of art, overtly concerned with technical issues—the revolution’s and its own." In short, it is a movie by Steven Soderbergh, a director who (with his first feature, sex, lies, and videotape) helped invent independent American moviemaking as a concept (and, in part, as a marketing concept); who, with his comeback movie, Out of Sight, showed how just how much smarts and technical pizzazz could be applied to a solid piece of romantic-action-comedy goods while accepting the material on its chosen level; and who has spent the last decade or so veering from one extreme to the next, trying to find the ideal balance between commercial work that won't rot the brain and experimental work that tries to speak to at least part of the mass audience. As Hoberman sees it, "Che is superb filmmaking—forcefully edited, purposefully repetitive. Everything is foreshadowed; each sequence has its parallel. There is no scene that cannot be seen as part of an ongoing argument." But how many movies made by big Hollywood players wouldn't be embarrassed by a phrase like "an ongoing argument"?"Soderbergh is less a driven auteur or even an enthusiastic cinephile than he is a highly intelligent technician who sets himself a problem and goes about solving it. "

Six Degrees of Busty Belle

Andrew Osborne — Wed, 13 Aug 2008 01:30:00 GMT

What with The Screengrab being a suburban subdivision of Nerve.com, itself succinctly defined by Wikipedia as “an American online magazine dedicated to SEX, relationships and culture,” it’s entirely possible that all you nice people out there already know this, but it’s news to me, so I thought I’d share: if you go all the way to the back corner of the Internet Movie Database, through the beaded curtain, down the dimly-lit stairs and behind the green door, there’s a sleazy little sub-basement even deeper underground than our fearless movie janitor Scott Von Doviak’s IMDB Bottom 100...and it’s completely filled with PORN!!!!!

And I don’t mean Zalman King-esque softcore erotica like Two Moon Junction. I’m talking Gilligan’s Bi-Land, The Anus Family and Blow Job Adventures of Dr. Fellatio 2 down-and-dirty bachelor-party-stag-film PORN!

Now, don’t ask how I stumbled upon this discovery. It’s not what you think, I swear. And I’d tell you the whole story, but it involves a (possibly drunken) revelation by a complete stranger at a D-list awards show, about an estranged family member who’s spent the past few decades shaming her father’s good and quasi-famous name as an adult film actress, and I really don't wish to be the cause of any more heartache for the family. But the upshot of the whole thing was, at one point in the evening, the aforementioned (possibly drunken) stranger casually mentioned how she actively avoids the Internet Movie Database and discourages people from using it, lest they inadvertently discover the fateful and unfortunate link between her silver fox husband and his bleach-blonde black sheep progeny.

Naturally, I jumped on the computer as soon as I got home, and immediately clicked over to the IMDB to see if the stranger’s cockamamie story could possibly be true. First I looked up the father...and there, right under his date of birth and hometown was a listing of the veteran actor’s family members...including, yes, the infamous link to his estranged daughter’s very own database page, featuring 31 “acting” credits in roles ranging from “Teen Hiding In Closet” and “First Rape Victim” to a cameo (as herself) opposite Ron Jeremy, whose own database page, had I ever bothered to check it out before, would have clued me into the IMDB’s hidden porn stash long before now, given its genre-busting inclusion of credits ranging from Nash Bridges to Faster Pussycat, Fuck! Fuck!

Now, of course, given the ancient bond between porn and the internet, I guess it shouldn’t surprise me that a seemingly benign, all-ages resource like the Internet Movie Database would also feature the complete filmographies of Busty Belle, Long Dong Silver and a certain bad seed celebrity offspring who shall continue to remain nameless, though it does nevertheless seem a bit...odd.

But now, at least, I not only know that my Bacon Number is 2, but also that my Hedgehog Number is 4, to wit:

Andrew Osborne was in The F Word (2005) with Sam Rockwell
Sam Rockwell was in Frost/Nixon (2008) with Kevin Bacon
Kevin Bacon was in Death Sentence (2007) with Kelly Preston
And Kelly Preston was in 52 Pick-Up (1986) with, yes, Ron Jeremy...meaning that I, too, am now linked to a porn star.

Thank you, Internet Movie Database!

The Jailbait Sweet 16 (Part Three)

Andrew Osborne — Thu, 22 May 2008 21:00:00 GMT

PRETTY BABY (1978) & THE BLUE LAGOON (1980)

Europe is a very different place than America, and the seventies were a very different time. From Socrates to Roman Polanski, Europeans have always had a much more, uh, relaxed attitude when it comes to May/December (or even early April/December) relationships. Whether said social mores indicate healthy, sex-positive liberation or sick, twisted perversion, the fact remains: them foreigners sure do make a lot of movies about sexed-up youngsters. In 1971, Louis Malle directed Murmur of the Heart, about a 15-year-old boy who gets hit on by priests and has sex with his mother. A few years later, Malle hit the controversy jackpot with Pretty Baby, the lurid yet turgid tale of a young girl raised by prostitutes whose virginity is auctioned off prior to her marriage to an older man. Brooke Shields, rouged and naked throughout, became the (literal) poster girl for commodified, sexualized “innocence” and a precursor to the sexualization of even younger girls in those creepy JonBenét Ramsey-esque pre-pubescent beauty pageants that Little Miss Sunshine mocked so brilliantly. Two years after Pretty Baby, Brooke Shields lost her virginity again in The Blue Lagoon, this time to a barely legal Christopher Atkins (who would later shake his groove thing for cougar Lesley Ann Warren as a male stripper in the 1983 cheese-whiz classic A Night In Heaven). That Lagoon was such a smash hit in the U.S. had everything to do with the movie’s lush cinematography and wholesome depiction of pure, innocent love and nothing whatsoever to do with the fact that its hot teenage stars were (tastefully!) naked half the time...because, of course, we Americans have superior morals.

PALE RIDER (1985)

In this inflated imitation of his own High Plains Drifter, the director-star Clint Eastwood plays a mystical, supernatural gunslinger who materializes after a 14-year-old girl (Sydney Penny) has prayed for a hero to come and deal with the meanies making things hard for her gold-mining community. Once he's arrived, though, Penny isn't content with having him shoot all the bad guys; she also puts the moves on him, only to have him turn her down, maybe because he's got something going on with her mother (Carrie Snodgress). In a snit, Penny has the bright idea of trying to make him jealous by riding off to where the bad guys are holed up so that Eastwood has to come and collect her before a drooling Richard Kiel can club her and drag her off to his cave. Pale Rider is just one of several films in the Eastwood oeuvre that can make you wonder if, back in the early seventies, Clint left some part of his brain unclaimed on the set of The Beguiled.

THE KID (1921)

The title character in this Charlie Chaplin silent is played by the seven-year-old Jackie Coogan, but the movie features a dream sequence set in Heaven, and in that sequence, Chaplin contrived an attention-getting bit for Lita Grey, an untested young actress who, decades before Nabokov wrote his novel, was sometimes known as "Lolita." In the movie, Gray, looking very cute, and playing a character known as "Flirtatious Angel", traipses out wearing big wings and starts cuddling up to Chaplin like a friendly kitten. She encourages him to chase after her by skipping away and flashing what she would later describe as "a very skinny leg", and he obligingly goes literally flying after her. Chaplin used her again in The Idle Rich and planned to cast her as the female lead in The Gold Rush, but she wound up playing a small role in movie history and a considerably larger one in Chaplin's scandal-plagued personal life; he had to recast her role, and marry her, when he got her pregnant at age 16. (Chaplin was 35.) Their marriage, which produced two children and ended in an ugly public divorce, lasted only three years, and her professional and intimate personal life with Chaplin was over by the time she was twenty.

BULLY (2001)

Larry Clark gets accused of a lot of things by critics. I mean, a lot. In the view of some film writers, he’s second only to Lars von Trier as the filmmaker most likely to be Nosferatu reincarnated. But the most common charge is that he’s some kind of dirty old man – a guy who makes movies for no better reason than to look at attractive young people cavorting in front of his camera lens so he can yell “AROO-GA!”. This charge is not only a tad conspiratorial (Clark lives in New York, a city where it’s pretty easy to get a gander at naked teenagers, and making expensive, highly controversial films would seem to be an awfully roundabout way of doing it), but also pretty fatuous when directed specifically at Clark. I mean, can you name a major Hollywood movie of the last 30 years that didn’t feature an attractive, overly sexualized young man or woman in a leading role? Most critics were pretty indulgent of the alleged Chester-the-Molester qualities of Clark’s 1999 debut feature, Kids, because they bought into its sense of impending moral panic; but by 2001, when the world had decided it had bigger problems than that of 17-year-olds having sex, a lot of people decided that Bully, his loose adaptation of a real Florida murder case, was nothing but a justification for Clark to see pretty young things in their altogether. But then, as now, this charge was ignorant of history and tone-deaf to reality. Clark has always been obsessed with beautiful young people who obliviously hurtle into self-destruction, including himself: he’s a brilliant photographer whose first book, Tulsa, featured his speed-freak friends shooting themselves into early graves, and like his films – Bully in particular – the grim realities of death and insanity gave a distinctively un-erotic charge to even the most beautiful bodies in his photographs. It was also released when he was 27 years old (and many of the photos were taken when he was much younger), exempting him from the charge of simply being a horny old coot. Later photographic works would focus on his own drug addiction, the tragic lives of handsome but damaged Times Square hustlers, and, tellingly, the way that media images of young people shape – and warp – youth culture. Far from being a dirty old man, the artist who made Bully was simply following a path he had been on for over 30 years. There’s no denying it’s a film crammed with prurient interest, but that serves only to solidify Clark’s central obsession: that the ignorant self-destruction of youth is all the more tragic because they are so vibrant and beautiful.

FREEWAY II: CONFESSIONS OF A TRICKBABY (1999)

Society’s moral strictures being what they are, film directors, when they bring to us a movie featuring a bunch of hot young things romping around in their birthday suits, must think of some way to convince us that we’re not watching for the obvious reason. There are many ways to do this: dramatic tension, outright deception, or the pretense of imparting some sort of grand moral lesson. Matthew Bright, the deranged auteur behind the Freeway movies, has discovered a method that’s, as far as we know, unique to him: he wedges his nymphomaniacal teenagers in between a bizarre framework of re-imagined postmodernist fairy tales tinged with a truly surreal sense of humor. The second movie in a proposed trilogy, Freeway II is, believe it or not, a retelling of “Hansel and Gretel”, only with lesbian shower scenes, cannibalistic transvestite nuns, and David Alan Grier. Absent the deranged trappings, it’s unlikely that this movie would ever have gotten made; Natasha Lyonne was of age in the female lead, but she’s meant to be playing an 18-year-old juvenile delinquent, and her partner in crime, the demented serial killer La Ciclona (played by the riveting Maria Celedonio), is explicity, and we mean explicitly, portrayed as being sixteen years old. Were this a mainstream movie aimed at a mainstream audience, it probably would have generated a Senate investigation when Lyonne and Celedonio get it on in a beer-fueled makeout session in a hotel bathroom; but Bright had already set the scene for this sort of nonsense by presenting us with a mass prison vomiting scene (choreographed like a Busby Berkley musical, with the bulimic prisoners as chorines) and a striptease involving a girl with a prosthetic leg. He continues in this vein, ultimately asking us to cope with the image of Vincent Gallo in nun drag trying to bake the hapless Ms. Lyonne into a pie. In the face of all that, there’s simply no room for self-incrimination for ogling teen girls; you just have to sit back and go where the ride takes you.

For more jailbait: Part One, Part Two

Contributors: Andrew Osborne, Phil Nugent, Leonard Pierce

The Jailbait Sweet 16 (Part Two)

Andrew Osborne — Thu, 22 May 2008 20:30:00 GMT

AMERICAN BEAUTY (1999)

This modern day take on Lolita, reviled by some, adored and Academy-Awarded by others, tells the story of Lester Burnham (Kevin Spacey), a miserable hen-pecked middle-aged loser reinvigorated by a surge of life-altering lust for the sexually aggressive friend (Mena Suvari) of his mopey teenage daughter (Thora Birch). To attract Suvari’s character, Angela, Burnham starts working out, pumping up his body while channeling happy memories of his irresponsible, pot-smoking youth. Eventually, Burnham gets his wish to have sex with Angela...but, upon learning that the allegedly promiscuous girl is actually a virgin, he pulls back from the brink at the last moment, suddenly remembering that he is, in fact, an adult. And then he gets shot in the head...a nice, throwback moment to the old Hays Code days when moral transgression always led to a grisly end, cautioning the rest of us against stepping over the line. Yet transgression is part of the film’s DNA, and while I can appreciate the reasons why certain people hate this movie (the artifice, the middle-aged lust thing, the Spacey Smarm Quotient), I nevertheless enjoy the message of the smart Alan Ball script that we are not defined by our age, our possessions, or the way we’re perceived, and lying to ourselves about who we’d rather be instead of accepting who we really are leads to heartache, rage, bad relationships and, occasionally, bullets in the head. Like many dirty old men before him, Lester Burnham thinks he wants sex with a much younger woman, but what he really wants is to simply be much younger, with all of life’s possibilities ahead rather than fading away in the rearview mirror.

AMERICAN PIE (1999)

And speaking of fin de siècle movies with “American” in the title co-starring Mena Suvari...this raunchy-sweet comedy was a throwback to 1980s teen sex comedies like Fast Times At Ridgemont High, Risky Business, Porky’s, Screwballs, Losin’ It, The Last American Virgin, Zapped! and etc., etc. etc. Yet somehow, despite scenes of adolescent pie-fucking, discussions of inappropriate relations with a flute at teenage band camp, tons of high school sex and the deflowering of a pubescent boy by a predatory Mary Kay Letourneau-esque older woman, American Pie barely raised a flicker of controversy upon its release, possibly because it was simply too funny and ridiculous to get all het up about...but also perhaps because of the genuine affection writer/directors Chris and Paul Weitz had for their characters, male and female, as opposed to presenting them as figures of scorn and/or inflatable sex dolls (or just so much bloody meat, like the unfortunate young victims in any number of slasher flicks from Halloween to Hostel, where sex literally equals death). As the esteemed Mr. Pierce’s notes in an earlier post on Lolita, Nabokov’s book, for all the controversy surrounding it, was actually funny...and American Pie, a kind of classic in its own right, proves once again that sometimes the best way to deal with the scary issue of sex is simply to laugh.

FREEWAY (1996)

And then there’s the less funny side of sex: molestation, prostitution and violence against women, all of which is faced and overcome by a modern day So-Cal Red Riding Hood in this astonishing exploitation film by jailbait auteur Matthew Bright, whose fetish for pigtails and ponytails drove him to personally style the hair of his actresses...which must make him a creep, right? And yet, despite Bright's seemingly shady fascination with underage sexuality, this is one of the most empowering, ass-kicking girl power movies I’ve ever seen. Reese Witherspoon leaves this one off her resume, and yet her portrayal of the indomitable white trash warrior Vanessa Lutz is, hands-down, the single best performance of her career, promising a future of nitro-fueled intensity that (Tracy Flick aside) pretty much fizzled into perky romantic comedy fluff. Remember how cool Emilio Estevez was in Repo Man before he became...y’know, Emilio Estevez? Yeah, it’s kinda like that. The story pits Witherspoon’s illiterate, underage Lutz against a crack whore mother (Amanda Plummer), an abusive stepfather, the L.A.P.D. and, most notably, Kiefer Sutherland as the story’s Big Bad Wolf, Bob Wolverton (get it?), a leering bogeyman of a sexual predator. The escalating verbal and physical warfare between Lutz and Wolverton taps into something downright primal and possibly Freudian, as if Bright is investing all his forbidden love for the raw sexuality and electric vitality of youth into Lutz and all the self-loathing shame surrounding his secret, twisted obsessions into Wolverton, then letting the two duke it out in a steel-cage match. The result is the greatest B-movie John Waters never made, a loud, raucous, thriller with jaw-dropping stretches of pitch-black comedy and a truly startling cameo by the queen of Jailbait Cinema, the one and only Brooke Shields, who shows up (along with Mr. Bright’s even more peculiar sequel to Freeway) in part three of this list.

KIDS (1995)

In Kids, the first feature directed by the legendary photographer Larry Clark, a bunch of teenagers spend a day and a night wandering around New York City in the summer. They have sex, shoplift, beat the crap out of somebody, take drugs, and have an orgiastic party. There's no plot to speak of, but there is a suspense hook: Jennie (Chloe Sevigny) has just learned that she's contracted AIDS from the mushmouthed, seventeen-year-old lothario Telly (Leo Fitzpatrick), a serial deflowerer of girls who imagines that his sexual partners will always remember him if he's their first but who loses any interest in them after that, and she sets out to try to find him before he can rack up his next intended victim, Ruby (Rosario Dawson). (She is unsuccessful in this.) The whole movie is sunk so deep inside its obsessions with selfish teenage kicks that it gives the feeling that the screen could use a bath. When it first appeared, Kids was THE controversial indie film of its season, and it was defended by some moralists who argued that Clark and his twenty-two-year-old screenwriting partner Harmony Korine were obviously showing us these youngsters acting like animals--which is the closest thing they have to an interesting quality--as a "wake-up call" to parents. Please. Clark's subsequent films (Bully, Wassup Rockers), and for that matter the photo collections with which he'd made his name (Tulsa, Teenage Lust) have only served to confirm that Clark likes to film teenagers babbling incoherently, acting out nastily and fucking because he likes to watch teenagers babbling incoherently, acting out nastily and fucking; pointing a camera at it gives him an excuse to indulge in his hobby, which he is of course entitled to share with others who have similar interests. Those of us who used to get bored with such things after about three minutes even when we were teenagers need to look elsewhere.

HARD CANDY (2005)

At 21, Ellen Page sure is a hard-working gal. Juno may have made her a star when it opened late last year, but in recent months we've seen the arrival of three other movies in which she stars or has prominent roles (Smart People, The Tracey Fragments, and An American Crime, which played at the 2007 Sundance Film Festival but recently premiered on Showtime cable). In fact, the success of Juno was the explosion coming at the end of a long fuse set by the cult home video success of Hard Candy, a two-character drama that uses the then-teenaged actress's mixture of seductiveness and spikiness for all it's worth. She plays a 14-year-old who has struck up an Internet correspondence with an adult photographer (Patrick Wilson); when she meets him for the first time, she invites herself back to his place with the promise of hearing a Goldfrapp mp3 he boasts of having. Once they get back to his place, it turns out that she's springing a trap; taking him prisoner, she informs him that she knows that he's a pedophile who's involved in the murder of a girl, and she proceeds to torture him, threaten him with exposure and castration, and cajole him to do the right thing and commit suicide. It's to Page's considerable credit that, by turns enticing, alarming, and outright scary, she remains fascinating throughout, even though she can't make her character believable; she has a degree of infallible self-assurance that would be hard to buy in a SWAT team leader, let alone a 14-year-old girl playing cat and mouse with a psycho on his home turf. Her choicest moment of degradation for her prey may be when, having gotten him where she wants him, she casually reveals that she actually thinks Goldfrapp is pretty lame. Other movies (such as The Professional) know that the viewer's inner pedophile will be flattered by seeing a young girl insist that she wants the older man even if he has the nobility (and the box-office savvy) to not follow through; Hard Candy knows that, while castration threats are pretty bad, the best way to make the older man shrivel up is to let him know that, when he thought he was being cool and up to date, he was actually sounding like an old fart.

For more jailbait: Part One, Part Three

Contributors: Andrew Osborne, Phil Nugent

Jailbait Cinema: 16 Films That Make Us Nervous (Part One)

Andrew Osborne — Thu, 22 May 2008 20:00:00 GMT

If we all hit puberty overnight on our 21st birthdays, American life would be a helluva lot less complicated. But, as the recent Miley Cyrus “back-gate” scandal revealed, teenage sexuality is a topic that America doesn’t want to think about, even as it just can't seem to stop thinking about it.

On the one hand, most of us had (or at least thought about) sex in high school...on the other hand, once we’re adults, we’re all supposed to conveniently forget our memories and fantasies of adolescent lust. On the one hand, sex education is viewed as promoting underage promiscuity...but on the other hand, abstinence-only education tends to lead to a lot of unwanted pregnancy, since teenagers somehow figure out how to have sex even without classroom lectures about condoms. On the one hand, innocent teachers, day care workers, 19-year-olds with 17-year-old girlfriends and that 6-year-old boy who smacked a female classmate on the butt have all been branded for life as sexual offenders based on false or flimsy charges in hysterical witch hunts to “protect the children” at all costs...on the other hand, research indicates 20-25% of girls and 5-15% of boys in the U.S. experience some form of molestation at the hands of adults, the Catholic Church ignored its own institutional abuse scandals and the international sex trade in young flesh is thriving.

Clearly, we’re a little conflicted about the whole sex thing. Sure, we’re all shocked and disgusted by those creeps on To Catch A Predator...but somebody out there is watching Gossip Girl, sneaking peeks at Barely Legal magazine, lusting after Zac Efron and buying sexy cheerleader outfits from the Frederick's of Hollywood catalogue...and it’s not all just teens and predators. In fact, if we here at the Screengrab didn’t know better, we’d almost think Americans fetishize taboos instead of just being honest about them, leading to some pretty screwy behavior...AND the following list of films that reside in that dangerous grey area between sexual initiation and exploitation.

LOLITA (1962 & 1997)

Of course, no list of jailbait cinema would be complete without the grandmother of them all, or this previous Screengrab post on the screen adaptations of Nabokov's novel.

TAXI DRIVER (1976)

The best joke in Martin Scorsese’s masterful meditation on violence and alienation is when Robert De Niro’s Travis Bickle is turned into a hero for ‘rescuing’ Jodie Foster’s teenage prostitute by gunning down her pimps and johns; the best joke outside Taxi Driver is that a lot of critics actually believed Scorsese was being sincere in his depiction of the event. More than one film writer, including a few who should have know better, saw in the movie’s chaotic ending an endorsement of vigilantism, a baffling interpretation that came back to haunt Scorsese – who clearly couldn’t have been more taken aback by this turn of events – when realities like the assassination attempt on Ronald Reagan and the saga of subway shooter Bernard Goetz impinged on the fantasy of his film. The notion that Bickle is any kind of a hero is subverted at every turn: his diary is filled with racism and paranoia, his targeting of lowlifes and criminals only happens when he’s frustrated in his attempt to assassinate a politician; ordinary people can’t spend more than a few minutes in his presence without thinking he’s crazy; and even his targeting of Iris’ pimp (as with his targeting of presidential candidate Charles Palatine) is motivated as much by sexual jealousy as it is any kind of desire for justice. Travis is rightly appalled by the menu of sexual acts Iris will perform when read to him by the pimp Sport, and he does seem to have some genuine concern for her well-being, but he’s as oblivious to his own sexual desire for her as he is the impropriety of taking a date to a porno theater. Iris herself treats Bickle like he’s from another planet, and the film’s crowning irony comes at the end, when Travis, a marginalized psychotic only saved from suicide by a redemptive bloodbath and only saved from being a spree killer by his fortuitous choice of victim, receives a letter from Iris’ parents, filled with gratitude for having saved their daughter. It’s certain that if Travis ever took up the Steensmas’ invitation to visit them on their farm, they’d peg him for a maniac within seconds, but it’s the intricate chain of happenstance that turns a maniac into a hero which forms part of the genius of Taxi Driver – and totally upends Travis and Iris’ ‘relationship’ in a way no other jailbait movie has managed.

MANHATTAN (1979)

Woody Allen’s lovely, funny Manhattan is to movies about jailbait-chasing creeps what Citizen Kane is to, er, movies not about jailbait-chasing creeps. Mariel Hemingway earned an Oscar nomination for her performance as Tracy, the high school paramour of Woody’s Isaac Davis, and the Wood-Man himself got a nod from the Academy for his light, adept screenplay. So successful was Manhattan as a breezy, skillful romantic comedy that hardly anyone got creeped out by the fact that Woody’s character was technically committing statutory rape; when he explained “She's 17. I'm 42 and she's 17. I'm older than her father; can you believe that? I'm dating a girl wherein I can beat up her father”, he wasn’t being grammatical, but he was at least being really funny and self-deprecating. Those were the qualities that let us overcome our moral compunctions about what was really happening in the movie, and ignore the fact that, when Isaac tries to convince Tracy not to go away for six months to act with a theater group, he’s actually trying to talk her out of leaving him just long enough to be legal when she comes back. It was all very amusing, and even redeeming when he makes the ‘mature’ decision to start seeing Diane Keaton’s Mary Wilkie instead. Of course, all good things must come to an end, and the plot of Manhattan, one of the few times a Hollywood movie allowed us to not be utterly skeezed out by a middle-aged man jumping into the sack with a 17-year-old, took on a whole different dimension when the Soon-Yi Previn scandal broke. The prospect of a real-life Woody, then in his mid-50s, carrying on an illicit affair with a girl barely in her 20s was, somehow, much less appealing and light than a fictional Woody carrying on with a teenage girl, and all the worse that he was still married and the girl was his adopted daughter. For moviegoers, the worst thing about the scandal is that it’s made Manhattan almost impossible to watch without feeling an edge of ickiness it hadn’t previously possessed.

GHOST WORLD (2001)

Jailbait all-star Thora Birch’s performance as Enid Coleslaw in Ghost World is well-played on a number of levels: as we showed in our Girl Geeks list a few weeks back, she appealed to audiences (especially the, uh, male members thereof) because of her intelligence, hipness, cynicism and what seemed to be a wisdom beyond her years. But the other edge of the blade was the fact that for all her toughness and sophistication, she was still a high school girl. She was vulnerable and emotionally fragile and bound to get herself into situations she couldn’t handle. When she first encounters Steve Buscemi’s sad-sack loser Seymour, she toys with him the way she does her bewildered peer Josh; but when she gets to know him, she discovers that he’s as bitter, resentful, and out of step with the mainstream world as she is. They begin to develop a deep friendship based on the things they mutually hate (hey, there are worse things on which to base a relationship), but the astonishing thing about the way things develop between Enid and Seymour is that it’s an almost total inversion of the normal jailbait romance. Almost from the beginning, we sense that somehow, the two are going to end up in bed together, but unlike in most such movies, where no matter how much the writers try to pretty it up with the language of love, it’s still a predatorial relationship where the man has all the power, in Ghost World, we feel just as sorry for Seymour as we do for Enid. They’re both out of their depth, and as much as we like them both and are glad they’ve found each other, we know it can only end in disaster and we almost beg them not to hook up. When they do, we can tell it’s the beginning of the end for Seymour – and sure enough, he disappears from the film soon after, leaving Enid more vulnerable than she’s ever been. Because of this sense of sadness and loss, it’s one of the truest portrayals of such relationships ever put on film.

INNOCENCE (2004)

One of the principal allures of cinema has always been the way it affords its audience a chance to peek in on activities that would normally go unseen. However, this sort of voyeurism can occasionally feel like a curse when it confronts people with images they aren’t comfortable seeing. So it is with Innocence, a strange yet somehow magical film about a remote boarding school for young girls. Sequestered from the world, the girls are free to live and play without a single male gaze being cast upon them, which makes for the movie’s most fascinating conundrum- by showing us this hidden world founded upon the girls not being seen, director Lucile Hadzihalilovic forces us to deal with the question of why we’re so uncomfortable seeing them this way. Hadzihalilovic (wife of Irreversible director Gaspar Noé) doesn’t shy away from some potentially controversial images- a group of prepubescent girls swimming, a bathing teenager staring at her still-developing nude body in the mirror- which played a large part in the film being dismissed by many critics as fodder for the raincoat crowd. Yet Hadzihalilovic knows exactly what she’s doing, and this becomes obvious in the film’s final reel when we discover that the girls’ dance lessons are designed to train them for nightly performances the school puts on for shadowy male benefactors. That this revelation coincides with the beginning of the girls’ sexual development is deliberate, as Hadzihalilovic suddenly re-introduces men back into the lives of the girls just at the time they would begin paying them serious attention. With this final twist of the knife, Innocence asks whether the loss of the girls’ innocence is merely part of nature, or if others force it upon them, and Hadzihalilovic wisely leaves it for us to decide.

THE PROFESSIONAL (1994)

Luc Besson's violent fantasy about a hit man (Jean Reno) who takes in an orphaned twelve-year-old (Natalie Portman) and tutors her in the art of murder may go farther than any other commercial Hollywood movie in blatantly eroticizing a preteen girl. Other actresses not much older than Portman was here have played girls who aroused inappropriate feelings in older men; Portman, with her perfect little features set off by a Louise Brooks haircut and something around her neck that makes her look gift-wrapped, is treated as an object, or a pet, who first begs to be taken in by Leon the professional, and then (in a scene that was first cut from the American prints) begs him to make love to her. How did Besson get away with this? Partly by casting Jean Reno, who's a whiz at holding the camera while signaling that his pilot light has long since gone out, so you can feel confident that he'll stoically decline her entreaties. (Before she showed up, his best friend was a plant.) And partly by the black humor scenes of Leon teaching his little soul mate to become a killer, so that if you object to the film on moral grounds, you're liable to become dizzy from not being able to decide where to begin. It seems a little odd to complain about the unrequited, consensual pedophilia if you have no problems with the violence, but complaining about the violence just makes you feel like a square. The Professional is a truly outrageous movie, but it's extremely (and self-protectively) calculated in its outrageousness.

For more jailbait: Part Two, Part Three

Contributors: Andrew Osborne, Leonard Pierce, Paul Clark, Phil Nugent

Revenge of the Nerds - The 10 Sexiest Guy Geeks In Cinema (Part Deux)

Andrew Osborne — Thu, 24 Apr 2008 20:30:00 GMT

5. Steve Carrell as Andy Stitzer in The 40 Year Old Virgin

The poster said (and showed) it all: the painfully earnest expression, the terrible haircut, the little kid shirt and, of course, the no sex. For 40 years. Long past the point when even the nerdiest of nerds have usually managed to score at least a mercy jump from some kind soul, Andy is still living in a lonely geek paradise of pop culture, complete with an incredibly bad-ass video game chair that may, in fact, be even better than sex. But, in his isolation, Andy has also developed a tender soul and some not unimpressive pectorals (beneath a thick pelt of manly chest hair) that, combined with the stealthy square-jawed good looks beneath all the silliness, is sheer catnip to Catherine Keener’s E-Bay entrepreneur (not to mention my wife and most of her friends).

4. Michael Cera as Evan in Superbad and Paulie Bleeker in Juno

My sources inform me that Michael Cera is more cute than hot, although his junk-accentuating yellow shorts in Juno and the fact that he manages to attract Ellen Page’s titular wise-ass are mitigating factors in the case of his performance as teenage Tic-Tac enthusiast Paulie Bleeker. Of course, the geek side of the equation is more obvious...neither Paulie nor Evan seem to be especially popular in their respective high schools, but they earn their spot on this list by personifying exactly the sort of unspoiled misfits who are just on the verge of coming into their own as confident young adults (i.e., a tasty morsel and/or excellent boyfriend material for perceptive partners like Juno and Martha MacIsaac's teen temptress Becca.)

3. Daniel Radcliffe as Harry Potter in all those damn Harry Potter movies

And speaking of manly transformation...to quote blondychik1 over on YouTube regarding a certain nude scene from a certain notorious West End revival of Equus: “When did Daniel grow into a MAN?!?!” Meanwhile, over at Hogwart’s, the Harry Potter Nation has been watching the slow cinematic transformation of their favorite wizard from bespectacled young misfit to post-pubescent master of his wand in a mounting hormonal frenzy that even Muggles can feel way down deep in their Bertie Botts.

2. Christopher Reeve as Clark Kent in Superman I-IV

Respect.

1. Tobey Maguire as Peter Parker in Spider-Man 1-3

My wife and my female friends think he’s hot. My gay friends think he’s hot. Mary Jane Watson (personified by smokin’ hot, soakin’ wet Kirsten Dunst) thinks he’s hot. But he’s not JUST hot...he’s also a smart, sweet romantic superhero who’s nice to his cloying, annoying Aunt May...hell, he’s even nice to frenemies like Harry Osborn who try to kill him...AND he can deliver a stack of pizzas to your door from just about anywhere in just over ten minutes. Ladies and gents, I think we have a winner...(but please be sure to let us know who we missed)!

Click here for part 1.

Revenge of the Nerds - The 10 Sexiest Guy Geeks In Cinema (Part One)

Andrew Osborne — Thu, 24 Apr 2008 20:00:00 GMT

Last week, Screengrab celebrated the 10 Sexiest Girl Geeks in Cinema...and now, in tribute to the return of that dreamy Professor Henry Jones, Jr. (in the hotly anticipated Kingdom of the Crystal Skull), we present our equal opportunity list of ten hot nerdy guys.

As with the previous list, most of these so-called nerds, geeks, dorks and maxi-zoom dweebies are played by actors who, in real life, are pretty easy on the eyes. But their characters, at least, are misfits and loners, undervalued diamonds in the rough just waiting to be discovered by some lucky, sharp-eyed lady (or gentleman).

Why lucky? Because as Robert Carradine’s Louis Skolnick says in Revenge of the Nerds (and as we at The Screengrab know oh so well), “Jocks only think about sports, nerds only think about sex.”

10. William Hurt as Professor Eddie Jessup in Altered States

Back in the 1980s, William Hurt was the poster child for brainy-sexy-cool, thanks to his breakthrough role in Ken Russell’s nerd-tastic acid trip Altered States. Hurt stars as Professor Eddie Jessup, a Harvard scientist who is so totally obsessed with his research into universal consciousness that he’d rather “experiment” on himself than have sex with his hot primatologist wife...and what’s geekier than that?

9. Alan Tudyk as Wash in Serenity

Not being a lady or a gay gentleman, I was a little unsure of the actual “hotness” of some of the geeks on this list, and when I ran my original #9 (Jeff Goldblum as doomed scientist Seth Brundle in The Fly) by my wife, she shrugged, “Yeah...uh...I guess.” And while no less an authority than Geena Davis apparently found Brundlefly plenty damn sexy, I nevertheless decided instead to dedicate this space to the late, lamented pilot of the good ship Serenity, who my friend Julia informs me is quite the nerd hottie. Sweet, technology-obsessed and a little bit dorky, poor Wash is gone but evidently not forgotten.

8. Cary Grant as David Huxley in Bringing Up Baby

In last week’s girl geek list, I noted that Scarlett Johansson playing a geek in Ghost World was about as believable as Denise Richards playing a nuclear physicist, and I freely admit it seems hypocritical to list this uber-suave icon of urbane manliness in a top ten list of cinematic nerds...yet Grant’s stuffy paleontologist is the ancestor to any number of sweetly sexy absent-minded professor characters too obsessed with their studies to recognize their biological needs or the effect of their powerful chemistry on the world around them. Speaking of which...

7. Ryan O’Neal as Dr. Howard Bannister in What’s Up Doc?

I deferred again to my wife here in the #7 spot after she violently rejected my original pick: Jon Cryer as Phil “Duckie” Dale in Pretty in Pink, about whom I said: “Sure, Molly Ringwald’s Andie Walsh ultimately chose Andrew McCarthy’s limp noodle preppie, but in the same way all my guy geek friends preferred the pre-makeover Allison in The Breakfast Club, just about every alterna-girl I know would have picked Jon Cryer’s sometimes annoying but always stylish and devoted Duckie in a heartbeat.” To which my wife, an alterna-girl in her own right, shot back, “No. He’s not a hot nerd. He’s just a dork.” So, instead, I’ve substituted Ryan O’Neal’s befuddled, wife-approved musicologist as my #7 pick, in part to beef up the 1970s content of this list, and in part because any character who spends the majority of his time obsessed with igneous rock formations yet still manages to attract offbeat beauties like Madeline Kahn’s Eunice Burns and 1970s-sex-kitten-era-Barbara Streisand’s Judy Maxwell is clearly a nerd to be reckoned with.

6. Wes Bentley as Ricky Fitts in American Beauty (by Paul Clark)

When we first came up with the idea for this list, we went back and forth about the idea of including Ricky Fitts. Sure, he's an outcast at school, but does that make him a true geek? Ricky certainly doesn’t fit the mold on the surface -- no horn-rims, not especially studious, and so on. But, to quote American Beauty's tagline, "look closer." With his ever-present camera and intense gaze, he has the bearing of someone who's spent his life on the outside looking in, the way all geeks feel during their high-school years. Listen to his famous monologue about the plastic bag -- there's an analytical mind at work here that distinguishes him from his more socially-adept, less self-aware peers. Being a loner has given him plenty of time to step back from life and think about the world around him in a way most people his age don't have time for. It's also given him a serene acceptance of his life that proves irresistible to his troubled next-door neighbor Angela (Thora Birch). When she's not sneaking him up to her bedroom to have sex, he's everything a good boyfriend should be -- sensitive, empathetic, a good listener, the whole shebang. So Ricky doesn't look the part, but so what? In many ways, he's the real deal in a way those Urkel wannabes aren't, and a kind of ideal for young women who find themselves frustrated with the limited possibilities of dating popular jocks. -- Paul Clark

Click here for part 2.

Geek Love: The Ten Sexiest Nerds in Cinema, Gen-XX Edition (Part Deux)

Andrew Osborne — Thu, 17 Apr 2008 20:30:00 GMT

5. MARY STUART MASTERSON AS DANNI IN HEAVEN HELP US AND WATTS IN SOME KIND OF WONDERFUL

Danni in the 1960s-era Catholic school comedy Heaven Help Us would surely have been too cool for me in the real world, but the tomboy drummer Watts was a perfect fantasy: the groovy gal pal who’s been secretly pining for you all along -- then, when you finally catch wise, she’s dressed in a sleek, Goth-y chauffeur’s uniform. Tellingly, in John Hughes’ gender-flipped version of the same story (Pretty In Pink), Jon Cryer’s groovy guy pal, Duckie secretly pines for Molly Ringwald’s Andie, but then has to just suck it while she runs off with...yes, another popular hunk.

4. MICHELLE MEYRINK AS JORDAN COCHRAN IN REAL GENIUS

I wouldn’t have been smart enough for Jordan Cochran’s motor-mouthed, socially awkward “Pacific Tech” brainiac, but it was nice to know cute girls could be hyper, too!

3. THORA BIRCH AS JANE BURNHAM IN AMERICAN BEAUTY AND ENID IN GHOST WORLD

I’d evolved from a hopelessly geeky adolescent to a somewhat less geeky adult by the time Thora Birch became the definitive fin de siècle geek girl, but her sultry slow-burn cynicism (and surprisingly huge breasts) put the “It” in her misfits. (Scarlett Johnasson in Ghost World, meanwhile, is one of the hottest screen characters of all time, but ScarJo as a nerdy misfit is about as believable as Denise Richards as a nuclear physicist.)

2. CARRIE FISHER AS PRINCESS LEIA IN RETURN OF THE JEDI

The iconic, the unforgettable, the indisputable chain mail bikini. Even my gay nerd friends wanted a piece o’ that.

1. ALYSON HANNIGAN AS MICHELLE FLAHERTY IN AMERICAN PIE

A goofy, accessible, redhead nymphomaniac played by the actress who played the lesbian witch (and the evil vampire lesbian witch) on Buffy the Vampire Slayer? My friends, we have a winner.

And now that we've got you all lathered up in a hot geek frenzy, we'd love to know the nerds that steam up YOUR Coke-bottle glasses...and stay tuned for next week's list of Top Ten Brainy BOYS!

Click here for Part 1!

Geek Love: The Ten Sexiest Nerds in Cinema, Gen-XX Edition (Part One)

Andrew Osborne — Thu, 17 Apr 2008 20:00:00 GMT

With Smart People, Ellen Page reprises her wise-ass, brainy-sexy persona from Juno, reaffirming her place as the current It Girl for a brand new generation of future I.T. professionals and I.T.T. graduates.

Lord knows I enjoyed the standard-issue sex dolls of my Gen X adolescence, from Catherine Bach’s Daisy Duke to Sylvia Kristel’s steamy French maid in Private Lessons (which my parents naively allowed me to go see all by myself because it co-starred that nice Dr. Johnny Fever from WKRP In Cincinnati).

But horny fantasies aside, I knew from the get-go I was far too much of a Starlog-reading, drama club-joining, Honor-Roll attaining nerd to ever wind up with the hot blondes or the Bond babe, and so it was always the relatable, approachable freaks and geeks of cinema that gave me hope. And while most of the actresses on the following list were actually gorgeous starlets in real life, it was reassuring to believe the following characters, at least, would maybe lend you their panties if you ever needed to win a bet for a dozen floppy disks. (And don't worry, we'll get to the GUY geeks next week...but suggestions are certainly welcome!)

10. MOLLY RINGWALD AS SAMANTHA BAKER IN SIXTEEN CANDLES

Sure, she wound up with the hunky popular guy at the end, but she WAS nice enough to lend Anthony Michael Hall’s Geek her underwear, and I was always hot for Ms. Ringwald, especially when I read in later interviews that she eventually grew up, fell hard for a French guy and became quite the sex enthusiast.

9. ALLY SHEEDY AS ALLISON REYNOLDS IN THE BREAKFAST CLUB

A pivotal character in my early development, who inspired a life-long love of freaky Goth girls but also broke my heart, dropping the knowledge on my adolescent ass that even the misfit girls would usually choose the Jocks over the Brains of the world if given half a chance. Traitor!

8. MEG TILLY AS CHLOE IN THE BIG CHILL

Sexy, exotic and a little odd-looking, Chloe made me want to be the kind of cool, smart rebel her soulful misfit would dig (a.k.a. William Hurt’s drug-dealing Vietnam vet Nick) as opposed to the gabby neurotic Jeff Goldblum-y type I actually was (and am).

7. HOLLY HUNTER AS JANE CRAIG IN BROADCAST NEWS

Friends still mock me for my obsession with Holly Hunter’s t.v. producer character, but Broadcast News was the movie to beat in 1987 for nailing the friends vs. lovers dilemma faced by supportive, dorky guys in love with female “friends” who think of them as brothers. The scene where Albert Brooks’ character finally tells off Jane, then dumps her from his life is still one of my all-time favorites, finally teaching me the best way to avoid “nice guy” syndrome with girls was not to be so goddamn nice all the time.

6. DAPHNE ZUNIGA AS ALISON BRADBURY IN THE SURE THING

This Gen-X version of It Happened One Night dramatized the other side of the friends vs. lovers dilemma: once you finally figure out how to attract girls, do you go for great sex or great conversation? With Alison Bradbury, John Cusack’s Walter Gibson found the perfect balance.

Click here for part 2!

Happy (Almost) Birthday, MAD! (a tribute by Andumb Osboring)

Andrew Osborne — Wed, 16 Apr 2008 18:00:00 GMT

According to the recent 286 glossy-page “green” issue of Vanity Fair, E.C. Comics was founded 60 years ago by William M. Gaines, kicking up an important early skirmish in the ongoing American Culture Wars by publishing influential, controversial horror, action, science fiction and fantasy titles like Tales From The Crypt, Two-Fisted Tales and Weird Science.

But Mad magazine, which premiered in 1952, would prove to be the company’s most iconic, longest-surviving contribution. Much has been written about the generations-deep influence of Alfred E. Neuman and “the usual gang of idiots” on American satire and popular culture in general...but, this being the Screengrab, I wanted to pay special tribute to six decades of Mad’s sometimes brilliant, sometimes sophomoric movie parodies.

According to our old friend Wikipedia, the first film spoof featured in Mad was 1953’s Ping Pong (get it?), followed shortly thereafter by Noon!, Sane!, From Eternity Back To Here!, Wild 1 (correction) Wild ½, Stalag 18 and approximately a zillion others over the subsequent decades, up to and including contemporary jabs like The Da Vinci Coma, Spider-Sham 3 and Harry Plodder & The Torture of the Fan Base.

I became familiar with the older parodies through repackaged, full-color mini-comic inserts in the Mad Super Special editions, but it’s the mid-‘70s Mort Drucker era that I remember most fondly, with its takedowns of movies I knew and loved (Star Roars, The Spy Who Glubbed Me), “grown-up” movies I experienced in Mad long before viewing the actual objects of ridicule (The Ecchorcist, A Crock o’ (Blip!) Now) and countless flicks I never bothered to see (The Eyes of Lurid Mess, The Calamityville Horror) figuring they’d never be as entertaining as the Mad versions.

Was I annoyed when, halfway through reading the gazillion-page Lord of the Rings trilogy Mad blew the ending of the epic for me with 1979’s The Ring and I, a parody of 1978’s animated Lord of the Rings (which only went as far as the Battle of Helm’s Deep)? Yes. Very annoyed.

But I had to give credit to the magazine for brutally savaging its own 1980 celluloid fiasco, Up The Academy (directed, curiously enough, by Robert Downey, Sr.). And, in addition to the laughs, attitude and cinematic sensibility it offered, Mad also provided my pubescent, pre-internet libido with any number of smokin' hot pen-and-ink fantasy girls to ogle (Undressed To Kill’s semi-clad Nancy Allen caricature, in particular) as fondly remembered now as any Playboy centerfold.

Eventually, of course, like an elder sibling cast out of Narnia, I drifted away from Mad in later years, never to return...but as long as there’s Bleccch in my Kaputnik, the usual gang of idiots will live forever in my Portzebie.

The Screengrab Q&A: TEETH's Jess Weixler Talks Vagina Dentata

John Constantine — Mon, 14 Jan 2008 20:48:00 GMT

Teeth is a confounding movie, as the Screengrab learned for itself when it caught a late fall screening. The movie is notable for its premise alone. As Ken Mondschein puts it in his History of Single Life essay “A Legend With Teeth” up on Nerve today, it’s no wonder that vagina dentata is a universal motif. It handily embodies sexual anxiety, and that subject is always a crowd pleaser on screen. Part Sam Raimi inspired schlock horror and part feminist-hero fantasy, Mitchell Lichtenstein’s filmic debut doesn’t wholly succeed thanks to some wonky pacing and an even wonkier script. Newcomer Jess Weixler’s star turn as Dawn is easily the best part of the film.

How’d you get involved with Teeth?

I auditioned for the best friend but they wanted me to read for Dawn. I got the part but said, no, I’m not going to do it. I was initially freaked out because there were a lot of sex scenes, and I’d never done sex scenes. I had to really have a good conversation with myself about whether I was ready for it. Mitchell met with me and talked to me about it. I realized he wasn’t trying to make a bad B-horror movie. He was trying to make a good dark comedy. I took it because it’s an awesome part that’s never been played before. It’s kind of a superhero role. She has an anatomical uniqueness. She has to discover it and learn how to use it for good.

How did you get yourself prepped for the role? How did you get into Dawn?

I was fortunate enough to have a month to prepare. I don’t know how people are given a script and are supposed to shoot in a few days. I had a month to think about where she starts and where she ends. She changes so much through the course of the movie. She goes from being a shut down, innocent little girl to being a sexual beast and a woman. I think she thinks she’s sexy by the end of the movie. Whereas before she didn’t want anything to do with her body.

What did you pull from your own life experience as a teenager and your first experiences with sex when approaching Dawn?

I think that it’s overwhelming for a young girl to think of herself as a sexual body. I think guys come into it much faster. Guys are quicker to make the most of it. So I saw myself through a male’s eyes to find myself pretty. Like ‘do they think I’m pretty?’ instead of finding myself pretty. Something important for anybody, not just a woman, is to think they are beautiful, sexy, and strong. Then you give that to somebody instead of just trying to please them. I relate to learning how to be sexual in a way that I enjoy, you know, not just trying to make someone else happy.

Outside of Dawn’s father in the movie, you have four, arguably five different males in the story and all of them are predatory.

This isn’t a realistic movie on any level. Mitchell created a world filled with archetypes for this situation and he put Dawn in circumstances that would help her on the journey of discovering what she and how to use it. I think he set it up to aid Dawn’s story, not because he thinks all guys are bad.

All guys are bad. You should know that.

Everybody’s a little rotten, I guess, right? Not everybody deserves to be dismembered.

They don’t deserve to be eaten?

Much better term.

What do you make of Dawn’s sexual empowerment coming out of her having a drug experience?

Well she wakes up enough while drugged to realize she likes the guy. She doesn’t, I think, know how drugged she is. She likes the guy at the time, has a good time, likes having sex. She’s enjoying it. When it comes out he was being predatory though, he gets it.

That’s what you would call it, getting it?

He gets it. He gets it taken. He gets eaten, you said it right. And spit back out.

When you hear the premise of Teeth, you have to think going in, ‘Well, that’s bound to happen.’

Yeah, you can imagine what may be going on. I know a lot of people, when they saw it at Sundance, didn’t know that she could even have sex. When she did have sex and nothing bad happened, everybody clapped. It’s an important moment.

What do you think Dawn is going off to do at the end of the movie? Is she going to become a superhero, a vigilante? Where is she headed?

I think she’s just going to get away from it all. I don’t think she’s going to go hunt down guys. I think she’s going to try to live her life and if she needs to protect herself she will.

What do you think Teeth is? What would you classify it as?

I would classify it as a dark comedy. It’s being marketed a little as a horror film. It has horror aspects to it but I wouldn’t say it’s a horror movie. I understand it’s going to be complicated for people to understand what it is they’re about to see because we send it up. It’s definitely larger than life.

That’s an understatement.