The Screengrab : the usual suspects

Sundance Preview: Five Movies to Skip

Scott Von Doviak — Thu, 15 Jan 2009 17:00:00 GMT

In anticipation of tonight’s kickoff of the 2009 Sundance Film Festival, I’ve been previewing the must-see films: Tuesday we looked at documentaries and yesterday we checked out the narrative features. But it’s not all sunshine and lollipops. Every film festival of note screens its share of duds, and you don’t want be wasting valuable time you could spend riding a giant inner tube down a snowy peak. (Seriously, if you’re in Park City this week, do this. It’s super fun.) Here are five movies I’d scratch off my list if I happened to be in town.

BLACK DYNAMITE

Sure, this could be entertaining. The trailer makes it looks like pure blaxploitation pastiche, as if it’s the missing third piece of Grindhouse. The Sundance guide does nothing to dissuade me from this perception: “Black Dynamite is a throwback with an attitude. Hilarious, campy, hot, and sexy, it plays with every cliché from 1970s film and television, with a few new ones thrown in for color.” Personally, I think that could get real old real quick, but then, I sat through both I’m Gonna Get You Sucka and Undercover Brother, so maybe I’m just burnt out.

THE INFORMERS

Less Than Zero and American Psycho have their defenders, I suppose, but none of them are currently typing these words. So this description doesn’t particular light my fire: “Sex, drugs, and new wave...Los Angeles in the early 1980s: a time of excess and decadence, and nobody captures it better than Bret Easton Ellis as he coadapts his own acclaimed novel for the screen.” That’s not a world I have any interest in revisiting, although given that the cast includes Billy Bob Thornton, Mickey Rourke, Kim Basinger, Winona Ryder and the late Brad Renfro, I wouldn’t mind seeing a warts-and-all making-of documentary. I’m guessing it was not a placid, well-oiled production.

SHRINK

In another time – it seems so distant now – I would have watched Kevin Spacey read the phone book. His string of ‘90s performances, including Glengarry Glen Ross, Swimming with Sharks and The Usual Suspects left me eager to see what he’d do next. Then he caught the worst case of Oscar-itis since Nicolas Cage. (Pay It Forward. K-PAX. The Fucking Life of David Fucking Gale!) Now I can scarcely stand the sight of him, and Shrink sure doesn’t sound like the movie that will change that. “What happens when the people we count on to hold us together…are barely holding it together themselves? Jonas Pate's Shrink is a striking, fast-paced exposé of the ‘other’ Hollywood, featuring folks living outside their comfort zone and the people who put them there. Henry Carter (Kevin Spacey) is a psychiatrist with an A-list clientele, including a once-famous actress (Saffron Burrows), an insecure young writer (Mark Webber), and a comically obsessive-compulsive superagent (Dallas Roberts).” Kevin – get help!

SPREAD

The Sundance guide’s description of Spread is simply overflowing with sentences that make me never want to set foot in a movie theater again. ‘Los Angeles is often the customary site for mythmaking in the American cultural iconography. It is a place, for instance, where the legend of the sexual exploits of the male gigolo seems perfectly at home in the decadent universe of Hollywood dreams and nightmares. Surely inspired by the classic tradition of American Gigolo and Shampoo, Spread is such a perfectly tuned, contemporary depiction of the trials and tribulations of sleeping your way to wealth and success that, guilty pleasure or not, it’s irresistible. Especially so since it’s driven by the iconic persona of Ashton Kutcher. – ” Aaaand, this is the point where I make a break for the bathroom and hug the toilet close to my face. I didn’t even get to the part about his romancing of “middle-aged client” Anne Heche. There are some visuals I don’t need in my head.

SPRING BREAKDOWN

I don’t want to hate on Amy Poehler or (especially) Parker Posey, whose big screen appearances have been all too scarce of late, but this looks like absolute dogshit. “For Judi, Gayle, and Becky, tragically unhip bosom buddies pushing 40, “make-your-own-pizza night” constitutes the pinnacle of revelry. But when Judi’s fiancé turns out to be gay, Gayle’s face repulses a blind guy, and Becky’s beloved cat kicks the bucket, they’re ready for real pampering. Dusting themselves off, the trio heads for some R&R;on South Padre Island, where Becky’s supposed to chaperone her boss’s daughter.” Seriously, try to get through the trailer above. This is a Sundance movie? Time to hit the slopes!

Dear Santa: Cinematic Comebacks We'd Most Like To See (Part One)

Andrew Osborne — Thu, 25 Dec 2008 15:30:00 GMT

Ho! And also, ho-ho! Happy Festivus from all of us here at The Screengrab!

Last week, we shared some of our favorite cinematic comebacks of all time, but today the gifts we're really hoping to get are the following COMEBACKS WE'D MOST LIKE TO SEE IN 2009, starting with...

MARISA TOMEI

Is it generally accepted that Tomei is as good as she is? She won an Academy Award for her supporting performance in 1992's My Cousin Vinny, but, as also happened with Mira Sorvino (who was ridiculed for having won an Oscar for Mighty Aphrodite) and Jennifer Tilly (who was teased just for having been nominated for Bullets Over Broadway), that achievement inspired some snickering from people who don't understand why you'd waste an award on someone in a comedy. Never mind that Tomei's performance in that movie, which gave audiences as much sheer pleasure as anything run through a projector that year, couldn't have been easy to pull off, or that it summed up as well as anything else she's done what a remarkable combination of brains and adorability she has as an actress. Devoted to working in the theater, and not averse to doing TV when the role is right, she takes long breaks between movie jobs, though she keeps her hand in enough that nobody refers to The Wrestler as her comeback picture. But only for a brief time, in the wake of her Oscar win, did she inspire filmmakers to place her at the center of a few starring vehicles (Untamed Heart, Only You, The Family Perez). From Vinny to In the Bedroom to last year's Before the Devil Knows You're Dead to The Wrestler, the bulk of her most striking movie work has consisted of supporting roles in which her character was defined by her relationship to a man who had more lines and more screen time. And almost any time when Tomei is in a movie but not onscreen counts as wasted time.

MICHAEL KEATON

Does Keaton have issues? As an actor, he's come an incredibly long way from his screen debut in Night Shift, where he was still basically doing stand-up comedy in character -- but ever since hanging up his Bat cape and apparently losing Tim Burton's contact information, he's bounced from role to role, seldom betraying any sign that he cares about sustaining a viable career. He did reportedly beg for his role in Jackie Brown, though he left less impact on the finished film than he did when, as a gag, he reprised the character for a surprise cameo in Out of Sight. He gave a startling performance as a genius-level sociopathic criminal in Desperate Measures, but the downside is that he gave it in Desperate Measures. He may just be a man with more talent than taste, but given his background, it is suprising that he doesn't attempt more comedies; maybe he felt stung after the commercial failure of the 1996 Multiplicity, an underrated film in which he played multiple roles and worked like a saint to keep all the movie's balls in the air. Still,everything you'd guess about him from his acting seems designed to make you wonder why he'd want to appear in Herbie: Fully Loaded or be reincarnated as a snowman in Jack Frost: how hard up can he be for ways to impress his kids? Some of his recent films went all but unreleased (including The Merry Gentlemen, which he directed), but he gave one of his best performances last year on TV, in the cable miniseries The Company, where his legendary CIA brainmaster James Jesus Angleton gave you the feeling that decades of American history were decided by the icy paranoia of a few quietly deranged men in dark rooms. He also famously dropped out of the TV series Lost after learning that the producers had changed their minds about killing off his character in the pilot episode. The one thing that's plain and clear about Keaton is that he's a restless man whose reluctant to settle for the obvious, even if he'd rather star in White Noise than be idle while waiting for his next chance to shake up the Richter scale in a meaningful way. Some young hotshot director who's looking to make waves should plug himself into Keaton's aura and see what happens.

KELLY LYNCH

Lynch is regally beautiful enough, and capable of summoning up enough style and attitude, that you might be tempted to describe her as the sane equivalent of Sharon Stone, if that didn't undervalue her acting range: though she ought to be a movie star, Lynch is also actress enough to pass for a normal human being. For all practical purposes, her movie career really begin with Drugstore Cowboy, where as Diane, the drug-fiend housewife, she burned holes in the screen with her level gaze until exiting the picture with her vulnerabilities finally exposed, a thoroughbred on shaky legs. So far as good movies go, that was pretty much the end of her career, too, though she's continued to give solidly crafted, emotionally rich performances in all manner of dreck, from the "ooh, edgy!" 1993 romantic comedy Three of Hearts, in which she yearned for fellow M.I.A. Sherilyn Fenn, to the 2005 head trip The Jacket, where she gave Adrien Brody more reason than usual to have the shivers. Her chops are formidable and she clearly loves a challenge, and trying to keep her dignity and earn her paycheck in Mr. Magoo clearly counts as a challenge. But she probably deserves better. I know those of us who are her fans do.

SUZY AMIS

Amis has a face that, at least when it's filtered through the lenses of the cameras that love her unconditionally, could make you forget about everything else in the world if your hair was on fire. As an actress, she invariably communicates warmth and sweetness, but she can dredge up subterranean feelings of anger and pain when she needs to. Rolling Stone gave her its vote as the Next Big Thing actress back in the late 1980s, and in little seen indie fare such as Rocket Gibralter, Watch It, and Michael Almereyada's Twister and Nadja, as well as bigger-budget but well-hidden films such as John Boorman's Where the Heart Is and Bruce Beresford's Rich in Love, she delivered everything a movie "It girl" could deliver but the box office success. One of her rare starring vehicles, The Ballad of Little Jo, developed a small cult following after it was smuggled onto cable TV, though perhaps the most stunning evidence of how much she could give a movie came with the 1993 two-character filmed play Two Small Bodies, a weird take on the Alice Crimmins case kept on life support by Amis and her co-star Fred Ward, who probably deserves his own entry on this list. She finally got to be in a hit in 1995 when she was tapped to supply the token amount of estrogen to the cast of The Usual Suspects, a movie where the late-arriving news that her character has been murdered off-screen hits the viewer like a lead weight hitting one's foot. But then she took on a nothing role in James Cameron's Titanic, and she and Cameron (who at the time was married to his fourth wife and Terminator leading lady, Linda Hamilton) had an affair -- then the next thing you know, Cameron's divorce was final and the two of them were getting married, and she hasn't worked since, just as Hamilton was out of circulation while she and Cameron were married. I look forward to the day that James Cameron meets his future sixth wife the way some people look forward to getting their hands on their 401k.

ELIZABETH PENA

In the mid-1980s, in such movies as Down and Out in Beverly Hills, La Bamba, and Jacob's Ladder, Pena established herself as a pouty, steamy cuddlebug, but one whose pout concealed teeth that could bite: her expression of disgust when looking at the macho moron she married in La Bamba leaves a stronger visual memory than the happy romantic scenes of Lou Diamond Phillips' Richie Valens courting his unruffled blonde kewpie doll Donna. As a post-ingenue actress, Pena had her highest-profile role in John Sayles' Lone Star, sitting on a car hood with Chris Cooper, trying to process the information that their love was not meant to be, big time. She can currently be seen in the ensemble cast of the family comedy Nothing Like the Holidays, physically a little puffier-looking but with banked fires still smoldering behind her eyes. Someone needs to provide her with a canvass broad enough to let those fires flame out.

Click Here For Part Two, Three & Four

Contributor: Phil Nugent

Morning Deal Report: A Double Shot of McQuarrie

Scott Von Doviak — Mon, 17 Nov 2008 15:00:00 GMT

Thanks primarily to last week’s publicity boost from the Screengrab, Quantum of Solace opened at the top spot on the box office charts. (That’s our theory, anyway.) Raking in $70.4 million over the weekend, Quantum crushed the previous Bond best of $47.1 million held by 2002’s Die Another Day and proved that American audiences can live with a weird title as long as there are plenty of chase scenes. Madascar: Escape 2 Africa slipped to second place with a $36.1 million haul, followed by Role Models with $11.7 million.

Not long ago we were wondering whatever happened to Usual Suspects screenwriter Christopher McQuarrie. Now he’s inescapable. McQuarrie is signed to write and produce two projects for UA, per The Hollywood Reporter. The Champions “is derived from a late-'60s British television series about a group of government agents who encounter a hidden civilization that grants them superhuman talents.” The Monster of Florence “tells the strange-but-true tale of popular author Douglas Preston and Italian journalist Mario Spezi, who began investigating a series of unsolved murders in Italy and wound up implicated in the case.”

Guillermo del Toro and the Jim Henson Co. are teaming up for a “darker” take on Pinocchio. (Let me guess: “It’s not just his nose that grows.”) The stop-motion feature is on the back-burner while del Toro makes two Hobbit movies. But that’s not all! Per Variety, “He also has a three-year first-look deal with Universal, where he’s setting up remakes of Frankenstein, Dr. Jekyll and Mr. Hyde and Slaughterhouse-Five, an adaptation of Dan Simmons novel Drood and several other projects.” I’d say del Toro is spreading himself too thin, but I’ve seen pictures of him.

Related:
Vanishing Act: Christopher McQuarrie
Del Toro on the Hobbit Trail

Vanishing Act: Christopher McQuarrie

Scott Von Doviak — Wed, 25 Jun 2008 18:30:00 GMT

It’s rare that the screenwriter for a splashy indie film will get as much or more attention than the director, but that was the case when The Usual Suspects hit it big in 1995. Boyhood friends Bryan Singer and Christopher McQuarrie first collaborated on 1993’s Public Access, which went nowhere despite winning the Grand Jury Prize at Sundance. Their second effort become a modern crime classic, and there was no ignoring the fact that McQuarrie’s twisty narrative and twisted characters contributed greatly to the success of Suspects. In fact, when the Academy Awards were held the following year, it was McQuarrie who walked away with the Oscar for Best Original Screenplay.

It was Singer, however, who used Suspects as a launching pad to a blockbuster career. After the Stephen King misfire Apt Pupil, Singer bounced back with the first two X-Men movies and the semi-successful Superman Returns. McQuarrie went his own way, hoping to realize his dream project: bringing Alexander the Great to the screen. This turned into a long, frustrating odyssey that ended when Oliver Stone made his own much-mocked version with Colin Farrell. McQuarrie’s sole effort as a writer-director, The Way of the Gun, was released in 2000, but it was something of a disappointment, getting lost in the post-Tarantino crime wave. Since then, McQuarrie has worked as a script doctor (doing uncredited rewrites on the first X-Men, among others) and has been involved in a number of aborted projects, including a Bryan Singer remake of Logan’s Run, but he has a grand total of zero screen credits since 2000.

That’s finally about to change. Today McQuarrie’s name popped up in this AP story about yet another controversy surrounding the upcoming Tom Cruise film Valkyrie. It seems Slate has had to retract a claim that the film’s producers altered photographs of German officer Claus von Stauffenberg in order to make them more closely resemble Cruise. This claim turned out to be false, and commenting on the situation was one of Valkyrie’s producers – Christopher McQuarrie. Per the AP: “‘The picture United Artists used of Colonel Stauffenberg can be found all over the Internet,’ said Valkyrie co-writer and producer Chris McQuarrie in a written statement released by a United Artists spokeswoman Tuesday. McQuarrie, who won a screenplay Oscar in 1995 for The Usual Suspects, added that it would have been easier to ‘alter Tom Cruise’ than to doctor ‘every available picture of Claus von Stauffenberg.’”

Valkyrie is the first full-fledged reunion of Singer and McQuarrie since The Usual Suspects. The duo was also set to re-team for the Harvey Milk biopic The Mayor of Castro Street, but that was before Gus Van Sant went forward with Milk. McQuarrie’s next announced project as a writer-director is The Stanford Prison Experiment, based on the actual psychological study gone awry in 1971. Rumored cast members include Ryan Phillippe and Paul Dano, but given the bumps in the road McQuarrie has already hit, it’s best to take such information with a grain of salt.

Related:
Tom Cruise Career Downward Spiral Update
A Brief History of Milk

The Screengrab Presents: The Five Kinds of Twist Endings

Gwynne Watkins — Tue, 27 May 2008 14:15:00 GMT

With M. Night Shyamalan's latest opus on the horizon, our thoughts are drifting to one of the best and worst things ever to happen to movies: the twist ending. True, the twist ending hit oversaturation in the early '00s, when it seemed like every film ended with a tacked-on revelation that all the characters were dead or the same person or characters in a giant videogame or something. But film history is so full of con games, double-crosses and startling last-minute revelations that it would be a shame to lose the twist ending entirely. Here's an affectionate guide to the 5 kinds of surprise endings. And yes, many films fit into more than one category. Call it a twist. -- Gwynne Watkins

#5 The Twilight Zone
In The Twilight Zone, something seems wrong or off-kilter for the entire film, but it's not entirely obvious what that thing is. When the twist is revealed, it creates a shift in perspective that can be easily explained in one sentence (such as the classic Twilight Zone example, "To Serve Man -- it's a cookbook!") Films that do The Twilight Zone well include The Others, Soylent Green and Swimming Pool. But when it's bad, it's very very bad; look no further than The Village, a cautionary tale for screenwriters everywhere.

#4 The Scooby Doo
This is the twist ending that reveals all prior events in the film to be part of an elaborate hoax perpetrated by the characters. And they would have gotten away with it, too! It's most commonly seen in con man movies -- The Game, Matchstick Men, The Sting, The Spanish Prisoner -- although it's cropped up to abysmal effect in "gotcha!" films like Basic and The Life of David Gale.

#3 The Donald Kaufman
Named for Charlie Kaufman's fictional screenwriter brother in Adaptation, The Donald Kaufman is the big twist that ostensibly explains everything, but in fact, makes no sense whatsoever. The Donald Kaufman most often takes the form of "They're both the same person!" or "It was all a dream!" Identity, High Tension and Femme Fatale are recent examples.

#2 The Awful Truth
The Awful Truth is the sucker punch of twist endings: a revelation that turns the main character into a tragic figure. Think Luke Skywalker screaming "That's not true! That's impossible!" in Empire Strikes Back, or the final shot of Rosebud in Citizen Kane. At best, it's dramatically satisfying (see Donnie Darko, Memento or Seven); at worst, it makes you want to slap the filmmaker for being a total sadist (see The Mist).

#1 The 20/20 Hindsight
The hardest kind of twist ending to pull off successfully, The 20/20 Hindsight requires the viewer to sit through an entire movie without realizing that a twist ending is coming. Then, after what seems like the film's resolution, the rug gets pulled out from under them. The Sixth Sense and The Usual Suspects are the classic examples; both have a fake-out ending that's quite satisfying, then a last-minute revolution that turns the whole film on its ear. Others include Fight Club, Planet of the Apes and Saw.

Grumbling About Mumbling: Philip Seymour Hoffman and Other Mushmouths

Scott Von Doviak — Thu, 28 Feb 2008 17:00:00 GMT

Ever since Frank Sinatra christened Marlon Brando "Mumbles" on the set of Guys and Dolls, inarticulate and incomprehensible speech has been a mainstay of American cinema, particularly among Method actors. David Jenkins of The Guardian has had enough, and it's Philip Seymour Hoffman who has pushed him to the breaking point.

Jenkins' snippy piece begins: "So there they are, Philip Seymour Hoffman and Albert Finney, emoting like nobody's business after they've buried the woman who was, respectively, their mother and their wife, in Before the Devil Knows You're Dead. There's a silence, and then Hoffman speaks — whereupon Finney slaps him. It's clearly a crucial moment, this explosion of violence, but I've yet to talk to anyone who could hear what Hoffman actually said."

Jenkins goes on to bemoan the mushmouthed stylings of the cast of Charlie Wilson's War (including Hoffman again), Miami Vice (with non-American Colin Farrell cited as a prime offender) and even There Will Be Blood. (He lets the Coens off the hook, noting critic Anne Billson's explanation for the clarity of speech in No Country for Old Men: "The Coen brothers are famously proud of their dialogue, so they make sure you can hear it."

The piece traces screen mumbling back to Brando, of course, but also pins some of the blame on Robert Altman for his trademark overlapping dialogue. It's a little hard to believe that nearly forty years after MASH critics and filmmakers could still be uptight about Altman's brilliant cacophonies, but Sexy Beast producer Hercules Bellville agrees. "I've got no problems with 1940s films; then only Peter Lorre had a strange accent. Now there are all sorts of odd accents and dialects, and the colloquial is often rapid and slurred. But technically, there's no reason for it."

These guys are way too uptight; after all, it's not as if American audiences have never had trouble deciphering British speech, and you don't hear us complaining. To quote Benicio Del Toro in The Usual Suspects, "Gbaughg thfllwoogha schwfjflhaw."