Film geeks are going nuts this weekend as Paul Thomas Anderson ‘s latest film, Inherent Vice , hits select cities. Skin fanatics will dig it too, however, along with the rest of Anderson’s filmography, which is full of some great nudity! Hit the jump for more info…
Also in Monday morning’s round-up of news briefs, a Fox studio co-head prepares to leave, consolidating leadership at the movie giant. Author Salman Rushdie says a controversial book he published in ’88 would “never be published today.” And remembering film professional/journalist Sandy Mandelberger. Hezbollah Leader Calls for More Protests Against Anti-Muslim Movie Sheik Hassan Nasrallah called for protests to continue Monday as the fall out from the anti-Muslim video Innocence of Muslims appears to be continuing into another week. The news comes after the U.S. State Department called for the removal of non-essential personnel from its embassies and consulates in Tunisia and Sudan,” Deadline reports . Fox Filmed Entertainment Co-Chief Tom Rothman to Exit Studio Co-Chairman Tom Rothman is exiting Fox at the end of the year. Jim Gianopulos will become the sole Chairman/CEO at the studio, which will be consolidated into the freshly dubbed Twentieth Century Fox Film, Deadline reports . The Master Sets Specialty Box Office Record It’s not every weekend that a specialty film can claim a record, but The Master opened with an incredible $145,949 per-theater average, the best limited release ever for a live-action film, topping another record-breaker from earlier this year, Wes Anderson’s Moonrise Kingdom , which bowed with with an average of $130,749 at four locations, Deadline reports . Salman Rushdie: ‘ Satanic Versus would not be published today’ The author said he thinks a climate of fear and reprisal exists today that would prevent him from getting his controversial 1988 novel The Satanic Versus from being published today. He said the banning of the book in many countries and the subsequent threats on his life including a fatwa by Iran’s then supreme leader Ayatollah Khomeini, had created a “long-term chilling effect,” BBC reports . RIP Arthur Sandy Mandelberger Mandelberger was a film professional and journalist, most recently Editor in Chief of FilmFestivalToday. He died at 57 on August 29th and is survived by his mother Eta and his partner of 37 years, Richard and sisters Miriam and Fanny. He battled cancer for nine years and asked that any donations be made to the Film Society of Lincoln Center.
If there is any disappointment or bitterness that The Master was set to receive the Golden Lion at the Venice Film Festival today, only for the top prize there to be “re-assigned” due to a rule limiting the number of awards one title can receive, then director Paul Thomas Anderson did not show it this afternoon at the Toronto International Film Festival where the film is having its North American premiere. Anderson along with actress Amy Adams and producer JoAnne Sellar spoke with reporters at the festival along with TIFF co-director Cameron Bailey. “It was amazing what happened in Venice. Philip [Seymour Hoffman] was able to go over there because Joaquin [Phoenix] and I have duties over here at this festival,” said Anderson. “And, it was amazing what they gave us. The best part was that they gave [awards] to both of the boys.” Anderson acknowledged that he was aware of the apparent controversy, but said he was satisfied with the prizes The Master received at the Italian festival. “I’m thrilled with whatever they want to hand over. I heard some of the scuttlebutt recently but I’m just thrilled with what they hand over. And that’s all.” Along with the Best Actor prize being split by Hoffman and Phoenix, Paul Thomas Anderson was awarded Venice’s Silver Lion for Best Director, while Korean director Kim-Ki Duk’s Pieta received the festival’s Golden Lion. Asked if he was disappointed he couldn’t be in Venice to pick up the awards personally, Anderson joked, “Through our studies on this film we’ve gotten to where we can do time travel. I’m actually at two places at once. I’m at the Pizza Hut and the Taco Bell.” Audiences in Venice and now Toronto are buzzing over The Master . Laura Dern also stars in the film along with Hoffman, Phoenix and Adams revolving around “drifters and seekers” in post World War II America. The film revolves around the journey of a Naval veteran (Joaquin Phoenix) who arrives home from war unsettled and uncertain of his future – until he is tantalized by “The Cause” and its charismatic leader (Philip Seymour Hoffman). Anderson appeared to be a bit surprised by the buzz the film is generating, but said he is pleased. “I don’t know why the film is resonating. I’m not sure what’s going on. We were proud to show it, but for people to be gravitating to it in such a way, it just feels so gratifying.” “It’s a film you really have to think about and it’s part of the time we’re living in,” added Sellar. “There aren’t a lot of films out there at the moment like that.” Amy Adams said her experience on the set were not quite what she had expected going in, saying she was surprised by the leeway that she and her fellow actors were given. “I thought it was going to be very very serious, but we actually laughed a lot and had a lot of fun,” said Adams. “There was a lot of freedom and we were allowed to experiment and fail. But going into it, I thought it would be very, very serious.” “Over the years, Paul has become a freer director [and] more organic,” added Sellar. “For me and Daniel [Lupi], my producing partner, we were able to support his vision and make changes and go on the fly.” And now that Venice’s awards are history, chatter in Toronto is now already looking toward Oscar and The Master is getting plenty of buzz. Asked about the Academy Award conversation among TIFF attendees this weekend, Anderson said simply, “Great.”
The Toronto International Film Festival added three Galas and 18 Special Presentations including eight World Premieres including dozens in its Contemporary World Cinema to its massive lineup Tuesday. Paul Andrew Williams’ A Song For Marion with Vanessa Redgrave and Terence Stamp will close the festival September 16th. New work from Dan Algrant, Paul Thomas Anderson, Dante Ariola, Yvan Attal, Susanne Bier, Nick Cassavetes, Daniele Ciprì, Lee Daniels, Brian De Palma, Bahman Ghobadi, Harmony Korine, Patrice Leconte, Spike Lee, Scott McGehee, Claude Miller, Henry-Alex Rubin, Walter Salles, Valeria Sarmiento, Pablo Trapero, Peter Webber join the 2012 lineup. Today’s additions bring the final tally of TIFF Galas to 20, and the final number of Special Presentations to 70 including 49 World Premieres. Toronto International Film Festival additions with descriptions provided by the festival. Galas : Song for Marion by Paul Andrew Williams, UK World Premiere A feel-good, heart-warming story about how music can inspire you. Song for Marion stars Terence Stamp as Arthur, a grumpy pensioner who can’t understand why his wife Marion (Vanessa Redgrave) would want to embarrass herself singing silly songs with her unconventional local choir. But choir director Elizabeth (Gemma Arterton) sees something special in the reluctant Arthur and refuses to give up on him. As she coaxes him out of his shell, Arthur realizes that it is never too late to change. Emperor by Peter Webber, Japan/USA World Premiere In the aftermath of Japan’s defeat in World War II and the American occupation of the country, a Japanese expert (Matthew Fox) on the staff of Gen. Douglas MacArthur (Tommy Lee Jones) is faced with a decision of historic importance, in this epically scaled drama from director Peter Webber (Girl With a Pearl Earring). What Maisie Knew by Scott McGehee, David Siegel, USA World Premiere Based on the Henry James novella, the story frames on 7-year-old Maisie, caught in a custody battle between her mother – a rock and roll icon – and her father. What Maisie Knew is an evocative portrayal of the chaos of adult life seen entirely from a child’s point of view. Starring Joanna Vanderham, Onata Aprile, Alexander Skarsgård, Julianne Moore, and Steve Coogan. Special Presentations : Arthur Newman by Dante Ariola, USA World Premiere Wallace Avery is tired of being a loser. Once a hot shot in the world of competitive amateur golf, Wallace was dubbed ‘The Choker’ when he hit the pro circuit. Unable to shake off a monumental loss of nerve on the greens, Wallace retired from the pro tour and slipped into the ranks of the quietly desperate. Deciding to address a radical problem with a radical solution, he stages his own death, buys himself a new identity as Arthur Newman, and sets out toward his own private Oz of golf. An offbeat love story set in a perfect storm of identity crisis, Arthur Newman looks at how two people try to remake themselves and come around to owning up to some basic truths about the identities they left at home. Starring Emily Blunt, Colin Firth, and Anne Heche. Bad 25 by Spike Lee, USA North American Premiere Bad 25 celebrates the 25th anniversary of the Michael Jackson “Bad” album with unseen footage, content shot by Jackson himself, and a treasure chest of findings. The documentary is divided into two parts: artists today who were influenced by Michael, and people who worked by his side – musicians, songwriters, technicians, engineers, people at the label – all committed to Michael and the follow-up to the biggest record of all time, “Thriller.” Interviewees include: Mariah Carey, L.A. Reid and Sheryl Crow. Disconnect Henry Alex Rubin, USA North American Premiere Disconnect interweaves multiple storylines about people searching for human connection in today’s wired world. Through poignant turns that are both harrowing and touching, the stories intersect with surprising twists that expose a shocking reality into our daily use of technology that mediates and defines our relationships and ultimately our lives. Directed by Academy Award® nominee Henry Alex Rubin (Murderball), and starring Jason Bateman, Hope Davis, Frank Grillo, Paula Patton, Michael Nyqvist, Andrea Riseborough, Alexander Skarsgård, and Max Theriot, as well as Jonah Bobo, Colin Ford and Haley Ramm. Do Not Disturb by Yvan Attal, France World Premiere Jeff unexpectedly shows up on Ben’s doorstep at 2am. Since their college days, they’ve taken very different paths. Jeff is still the wild man, a serial lover, an artist and eternal vagabond who’s never stopped roaming the world. Ben has settled down with chilled-out and wonderful Anna; they bought a small and comfortable house in the suburbs and started trying to make a baby. But this quiet life is disrupted by the whirlwind that is Jeff, especially when he takes Ben to a wild party, from which they return at dawn, having made a decision that is about to turn all of their lives upside down. This provocative, hot and funny new film by award-winning French director Yvan Atta stars François Cluzet and Charlotte Gainsbourg. Greetings from Tim Buckley by Dan Algrant, USA World Premiere Greetings from Tim Buckley follows the story of the days leading up to Jeff Buckley’s eminent 1991 performance at his father’s tribute concert in St. Ann’s Church. Through a romance with a young woman working at the concert, he learns to embrace all of his feelings toward the father who abandoned him – longing, anger, forgiveness, and love. Culminating in a cathartic performance of his father’s most famous songs, Jeff’s debut stuns the audience and launches his career as one of the greatest young musicians of his time. Starring Imogen Poots and Penn Badgley. Lines of Wellington by Valeria Sarmiento, Portugal North American Premiere After the failed attempts of Junot and Soult in 1807 and 1809, Napoleon Bonaparte sent a powerful army, commanded by Marshal Massena, to invade Portugal in 1810. The French easily reached the centre of the country, where the Anglo-Portuguese army, led by General Wellington, was waiting. Starring John Malkovich, Nuno Lopes, Soraia Chaves, Marisa Paredes, and Victoria Guerra. Love is All You Need by Susanne Bier, Denmark North American Premiere Love Is All You Need is a new film by Academy Award-winner Susanne Bier. Philip (Pierce Brosnan), an Englishman living in Denmark, is a lonely, middle-aged widower and estranged single father. Ida (Trine Dyrholm) is a Danish hairdresser, recuperating from a long bout of illness, who’s just been left by her husband for a younger woman. The fates of these two bruised souls are about to intertwine, as they embark for Italy to attend the wedding of Philip’s son and Ida’s daughter. With warmth, affection and confidence, Bier has shaken a cocktail of love, loss, absurdity, humour and delicately drawn characters who will leave only the hardest heart untouched. This is a film about the simple yet profound pains and joys of moving on – and forward – with your life. On The Road by Walter Salles, France/Brazil North American Premiere Directed by acclaimed filmmaker Walter Salles and based on the iconic novel by Jack Kerouac, On The Road tells the provocative story of Sal Paradise (Sam Riley), a young writer whose life is ultimately redefined by the arrival of Dean Moriarty (Garrett Hedlund), a free-spirited, fearless, fast-talking Westerner and his girl, Marylou (Kristen Stewart). Traveling cross-country, Sal and Dean venture out on a personal quest for freedom from the conformity and conservatism engulfing them in search of the unknown, themselves, and the pursuit of it – the pure essence of experience. Seeking unchartered terrain and the last American frontier, the duo encounter an eclectic mix of men and women, each adding meaning to their desire for a new way of life. The screenplay is by Jose Rivera (Academy Award nominee for The Motorcycle Diaries), while Executive Producer Francis Ford Coppola has been developing the project since 1978. Also stars Viggo Mortensen and Kirsten Dunst. Passion by Brian De Palma, France/Germany North American Premiere An erotic thriller in the tradition of Dressed To Kill and Basic Instinct , Brian de Palma’s Passion tells the story of a deadly power struggle between two women in the dog-eat-dog world of international business. Christine possesses the natural elegance and casual ease associated with one who has a healthy relationship with money and power. Innocent, lovely and easily exploited, her admiring protégé, Isabelle, is full of cutting-edge ideas that Christine has no qualms about stealing. They’re on the same team, after all… But when Isabelle falls into bed with one of Christine’s lovers, war breaks out. Starring Rachel McAdams, Noomi Rapace, Karoline Herfurth and Paul Anderson. Rhino Season by Bahman Ghobadi, Iraqi Kurdistan/Turkey World Premiere After thirty years spent in prisons of the Islamic Republic of Iran, Kurdish-Iranian poet Sahel finally walks free. Now the one thing keeping him alive is the thought of finding his wife Mina, who thinks he is long dead and has since moved to Turkey. Sahel sets out on an Istanbul-bound search. Starring Behrouz Vossoughi, Monica Bellucci and Yilmaz Erdoğan. Spring Breakers by Harmony Korine, USA North American Premiere Four sexy college girls plan to fund their spring break getaway by burglarizing a fast food shack. But that’s only the beginning. During a night of partying, the girls hit a roadblock when they are arrested on drug charges. Hung over and clad only in bikinis, the girls appear before a judge but are bailed out unexpectedly by Alien (James Franco), an infamous local thug who takes them under his wing and leads them on the wildest spring break trip in history. Rough on the outside but with a soft spot inside, Alien wins over the hearts of the young spring breakers, and leads them on a spring break they never could have imagined. Starring Selena Gomez, James Franco, Vanessa Hudgens and Heather Morris. The Master by Paul Thomas Anderson, USA North American Premiere A striking portrait of drifters and seekers in post World War II America, Paul Thomas Anderson’s The Master unfolds the journey of a Naval veteran (Joaquin Phoenix) who arrives home from war unsettled and uncertain of his future — until he is tantalized by The Cause and its charismatic leader (Philip Seymour Hoffman). Starring Amy Adams, Joaquin Phoenix, Philip Seymour Hoffman and Laura Dern. The Paperboy by Lee Daniels, USA North American Premiere A chilling sex-and-race-charged film noir, The Paperboy takes audiences deep into the backwaters of steamy 1960s South Florida, as investigative reporter Ward Jansen and his partner Yardley Acheman chase a sensational, career-making story with the help of Ward’s younger brother Jack and sultry death-row groupie Charlotte Bless. Starring Matthew McConaughey, Nicole Kidman, John Cusack, David Oyelowo and Zac Efron. The Son Did It by Daniele Ciprì, Italy/France North American Premiere The Son Did It is the story of the Ciraulos, a poor family from South Italy whose young daughter is mistakenly killed by the Mafia. As compensation, they receive a large amount of money from the State but this sudden richness will change their life in a completely unexpected way. Starring Toni Servillo, Giselda Volodi, Alfredo Castro and Fabrizio Falco. The Suicide Shop by Patrice Leconte, France/Belgium/Canada International Premiere Imagine a shop that for generations has sold all the accoutrements for the perfect suicide. This family business prospers in all its bleak misery, until the day it encounters joie de vivre in the shape of younger son, Alan. What will become of The Suicide Shop in the face of Alan’s relentless good cheer, optimism and determination to make the customers smile? Starring Bernard Alane, Isabelle Spade, Kacey Mottet Klein, Isabelle Giami and Laurent Gendron. Thérèse Desqueyroux by Claude Miller, France International Premiere In the Landes region of France, near Bordeaux, marriages are arranged to merge land parcels and unite neighbouring families. Thus, young Thérèse Larroque becomes Mrs. Desqueyroux. But her avant-garde ideas clash with local conventions and in order to break free from the fate imposed upon her and live a full life, she will resort to tragically extreme measures. Starring Audrey Tautou, Gilles Lellouche and Anaïs Demoustier. White Elephant by Pablo Trapero, Argentina/Spain North American Premiere In a poverty-stricken and highly dangerous Buenos Aires slum, two men – both friends, both priests, both deeply respected by the local community for their tireless endeavours on behalf of the poor and the dispossessed – take very different paths in their struggle against violence, corruption and injustice. Starring Martina Gusman, Ricardo Darin and Jérémie Renier. Yellow Nick Cassavetes, USA World Premiere Nick Cassavetes’ seminal work, Yellow , is a searing take on modern society and the demands it makes on people. Centered on Mary Holmes, a young woman who has a difficult time feeling things, and swallowing twenty Vicodin a day doesn’t help. We enter her hallucinatory world, peopled with Busby Berkeley dancers, Cirque du Soleil, Circus freaks, and human farm animals where nothing is quite what it seems. Starring Sienna Miller, Gena Rowlands, Ray Liotta, David Morse, Lucy Punch, Max Theoriot, Riley Keough, Daveigh Chase, Heather Wahlquist and Melanie Griffith. Contemporary World Cinema : 3 by Pablo Stoll Ward, Uruguay/Germany/Argentina North American Premiere For Rodolfo (Humberto de Vargas), life at home feels empty and cold, as if he doesn’t belong. Meanwhile, his first wife, Graciela (Sara Bessio) and their teenage daughter Ana (Anaclara Ferreyra Palfy) are living through defining moments in their lives. Subtly, Rodolfo will try to slip back into the place he once had next to them — the one he walked away from 10 years ago. 3 is a comedy about three people and the absurd fate to which they are doomed: being a family. A Hijacking by Tobias Lindholm, Denmark North American Premiere In A Hijacking , Tobias Lindholm turns his attention to a current topic: piracy at sea. The cargo ship MV Rozen is heading for harbour when it is boarded and captured by pirates in the Indian Ocean. Amongst the men on board are the ship’s cook Mikkel (Pilou Asbæk) and the engineer Jan (Roland Møller), who, along with the rest of the seamen, are taken hostage in a cynical game of life and death. With the demand for a ransom of millions of dollars, a psychological drama unfolds between the CEO of the shipping company (Søren Malling) and the Somali pirates. A Werewolf Boy by Jo Sung-hee, South Korea World Premiere Summoned by an unexpected phone call, an elderly woman visits a cottage she used to visit when she was a young girl. Half a century before, she moved to a peaceful village and discovered a “wolf boy” hiding in the darkness. She recalls teaching the boy how to wear clothes, how to speak and how to write along with other human behaviours. However, when threatened, he let loose his bestial instincts and became the subject of the villagers’ fears. In order to save the life of the boy who risked his to be by her side, she left him with a promise: “Wait for me. I’ll come back for you.” After the Battle by Yousry Nasrallah, Egypt/France North American Premiere Mahmoud is one of the “Tahrir Square Knights” who, on February 2, 2011 — manipulated by Mubarak’s regime — charged against the young revolutionaries. Beaten, humiliated, unemployed and ostracized in his neighbourhood near the Pyramids, Mahmoud and his family are losing their footing. It is then that he meets Reem, a young Egyptian divorcée. Modern and secular, Reem works in advertising, is a militant revolutionary, and lives in a nice neighbourhood in Cairo. Their meeting will change their lives. *Janice Gross Stein, Director of the Munk School of Global Affairs and member of the Order of Canada, is an internationally renowned expert on conflict management. She will speak about After the Battle in an extended Q&A session, following one of the screenings. All That Matters is Past by Sara Johnsen, Norway World Premiere Reunited after years apart, childhood sweethearts William and Janne are forced to confront the dark secrets of their past — and the menacing presence of William’s pathologically jealous brother — in this haunting story from celebrated Norwegian director Sara Johnsen. Baby Blues by Kasia Rosłaniec, Poland World Premiere Polish director Kasia Rosłaniec follows her controversial, irresistibly scrappy debut Mall Girls with this edgy and disarmingly frank look at teen pregnancy. Natalia is a 17-year-old mom living with her mother and son, Antos. She wanted to have a baby because it was a “cool” thing to do, and feels she would have someone to love; someone who can love her in return. Everything changes when Natalia’s mother decides to move out, giving Natalia a chance to lead a “normal life.” Barbara by Christian Petzold, Germany North American Premiere Set in East Germany in the early 1980s, the new film from renowned director Christian Petzold (Jerichow) is a suspenseful chamber piece about an accomplished Berlin physician, banished to a rural hospital as punishment, who is torn between the promise of escape across the border and her growing love for a fellow colleague — who may be planning to betray her to the secret police.
Following Rush Limbaugh’s attempt to cry conspiracy over the idea that The Dark Knight Rises villain Bane was meant as a political jab at Mitt Romney’s ties to Bain Capital, comic book writer Chuck Dixon — who created the Bane character for DC’s 1993 series Knightfall — chimed in to set the record straight on the character’s origins. “Bane was created by me and Graham Nolan and we are lifelong conservatives and as far from left-wing mouthpieces as you are likely to find in comics,” he told ComicBook.com . “He’s far more akin to an Occupy Wall Street type if you’re looking to cast him politically. And if there ever was a Bruce Wayne running for the White House it would have to be Romney.” [ ComicBook.com via The Guardian ]
A war veteran (Joaquin Phoenix) with a “nervous condition” finds himself entrenched in a cult — if not a religious cult, at least a cult of personality — built around a charismatic leader (Philip Seymour Hoffman) in Paul Thomas Anderson’s The Master . At long last, after a series of enigmatic teases, the first full trailer has hit the web offering more than just abstract , beguiling peeks at the rumored Scientology drama. So how much L. Ron Hubbard is there in Hoffman’s Master? The trailer alights on Phoenix’s Freddie Sutton as he wanders into the world of writer, doctor, nuclear physicist, and theoretical philosopher Lancaster Dodd, whose Hubbard-esque writings are glimpsed. (The way Dodd pens the dedication of his novel — “As a gift to Homo Sapiens” — is a bit of scripting brilliance that hints at Dodd’s grandiose, bombastic personality in just a single glance.) Things seem innocent enough as Dodd and his wife (Amy Adams) welcome his new charge into the fold. “We’ll urge you toward existence within a group, a society of family,” Dodd says. Like Scientology, this group promises self-improvement through community, though suspense kicks in as an accuser drops the c-word — “cult” — sending Dodd’s group onto a more sinister path. “The only way to defend ourselves is to attack,” Adams spits. It all certainly seems to be calling out Scientology and its founder, moreso the unflattering public image of its followers in the eyes of the outside world — organized faith-peddlers masking dubious claims behind their eccentric figurehead, desperate to protect themselves against scrutiny or worse. It might not seem so Scientology-esque if the tales of ex-members exiting the group weren’t so dramatic , or if Katie Holmes hadn’t reportedly been followed by a gang of Church members following her separation from Tom Cruise, the kind of crazy story that highlights the organization’s more bizarre characteristics. But does The Master really seem to be about Scientology at its core? Not much is apparent so far. The parallels are there – the author-turned-spiritual leader, the cult-like tendencies, the insular power dynamic within and without, not to mention the suggestion that it’s all a sham — and maybe Anderson’s taking an overt jab at the Church by using the bones of Scientology’s story to set up his own. But Anderson’s films explore larger human themes within narrow, specific worlds; it feels reductive to call The Master a Scientology movie just yet, though how much specific criticism can be drawn from the story remains to be seen. So forget the Scientology ties for a moment. This trailer looks fantastic, and though it hints at much more of the plot than we’ve seen previously, it’s still tantalizingly mysterious. Most surprising is Amy Adams, who commands attention as Dodd’s wife with glimpses of a mousy-to-Lady Macbethian arc throughout the trailer. Watch the trailer debut via Yahoo : The Master will be released on October 12. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Paul Thomas Anderson ‘s The Master continues to intrigue with the latest teaser revealing a look at Philip Seymour Hoffman as the enigmatic figure Joaquin Phoenix encounters — a mustachioed character who, in a new teaser entitled “Hopelessly Inquisitive,” describes himself as “a writer, a doctor, a nuclear physicist, a theoretical philosopher” and stands poised in startling contrast to the skulking Phoenix. Though it feels as if pieces of Anderson’s plot haven’t yet fallen completely in to place, the film follows “the relationship between a charismatic intellectual known as ‘the Master’ (Hoffman) whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man (Phoenix).” But even with an elusive collection of revealed character motivations and set-up, the clips revealed thus far for the period drama have been utterly enthralling. Phoenix’s physicality alone, glimpsed in the briefest of scenes here, is animalistic and transformed, whether he’s emerging from the landscape to hitch a ride on a passing truck or roaring in Hoffman’s face, “I know you’re trying to calm me down, but just say something that’s true!” In other words: It doesn’t really matter what The Master is about, or if it has anything or nothing at all to do with Scientology , does it? The Master hits theaters October 12 via The Weinstein Co. Follow Movieline on Twitter .
The idea of seeing Queen Latifah and Dolly Parton in a movie together, not to mention a movie about a gospel choir, is a particular kind of heaven. Latifah is a radiant performer capable of elevating even the most mundane material to a level of charm and grace unachievable by most mere mortals. And Parton, aside from having one of the sweetest and most haunting voices in all of country music, is a firecracker presence by herself — if you could bottle force of will in a perfume bottle, you couldn’t name it anything but Dolly. But whatever Latifah and Parton might have achieved together in that mythical heavenly ideal, it’s just not coming together in this lifetime – or at least not in Joyful Noise , a well-intentioned, pleasant-enough picture that shoots off in too many directions to ever ignite. Latifah plays Vi Rose Hill, a sturdy, no-nonsense family woman who inherits the leadership of her church choir after the death of its beloved director (played, in just a few tiny scenes, by Kris Kristofferson). But this is a very small town we’re talking about — Pacashau, Georgia, pop. 233, or something like that — and petty rivalries and resentments abound. It turns out that G.G. Sparrow (Parton), who has contributed heaps of money to the church and who’s also a leading (and undeniably shapely) figure in its Divinity Church Choir, thinks she should inherit the mantle. She has some new ideas for the group, which she wants to implement before the all-important National Joyful Noise Competition. Vi Rose, a traditionalist, likes to do things the old-fashioned way. The two women start trading insults and play-fighting even before it becomes apparent that G.G.’s rapscallion grandson, Randy (Jeremy Jordan), who has just drifted into town from New York City, is madly attracted to Vi Rose’s daughter, Olivia (Keke Palmer), the choir’s obvious rising young star. Actually, there’s a new conflict every five minutes in Joyful Noise : It’s pretty much all writer-director Todd Graff ( Bandslam ) can do to tamp each one down, Whac-a-Mole style, before another one pops up. Vi Rose doesn’t much approve of Randy, until he takes her pop-music-loving, Asperger’s-afflicted son, Walter (Dexter Darden), under his wing. (Walter’s favorite song is the Left Banke’s Walk Away Renee , and if you’re going to have just one favorite, that’s not a bad one to have.) Randy, you see, is an ace pianist and arranger, and he also has some ideas for spiffing up the choir’s material and moves. Meanwhile, Olivia starts acting up, as young ‘uns will. And don’t look now, but a rival for her affections (Paul Woolfolk) is just about to show up at the local quarry, where Randy and Walter have gone to practice their vocals (it makes a handy echo chamber). That could be big trouble. And yet, somehow, it’s really not. There’s so much going on in Joyful Noise that there doesn’t seem to be much time for anyone to actually sing. Still, the gang manages to squeeze some in. Many of the numbers are pop songs reimagined as gospel material, some making the transition with ease (like Sly Stone’s “I Want to Take You Higher”) and others (“Maybe I’m Amazed”) that, no matter how you slice them — or tweak the lyrics — still sound like secular love songs rather than hymns of praise. One of the loveliest numbers is Latifah’s spare rendition of “Fix Me, Jesus”: It’s plain and unvarnished, in a way that too much of Joyful Noise isn’t. Parton sings a duet with Kristofferson (he returns from the grave specifically for this purpose), called “From Here to the Moon and Back,” which is pretty enough in its serene, wistful way. But even though there’s so much going on in Joyful Noise , there still isn’t much for its two stars to do other than trade one-liners masquerading as small-town insults. (Observing G.G.’s superblond tousle of hair, Vi Rose snickers, “What, you’re worried you’re not gonna be seen from space?”) Parton and Latifah are both high-spirited all right, and their sparring is reasonably fun to watch. But Parton’s face, as those of us who have loved her for years, is not what it used to be, and looking at it is a bit disconcerting. Latifah, on the other hand, looks as luminous as ever. As performers, the two clearly have a great deal of respect and admiration for each other, and that’s the motor that drives Joyful Noise . But movies need more than just good mechanics, or even just good chemistry, to bloom. They always need at least a scrap of divine intervention. And on that count, Joyful Noise could still use a little fixing from Jesus. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Paul Thomas Anderson diehards have gossiped for months over reports that the filmmaker is shooting an undisclosed portion of his next film, known as The Master , on 65mm — the IMAX film format used recently, and to great effect, by the likes of Christopher Nolan and DP Wally Pfister on The Dark Knight and Brad Bird and DP Robert Elswit on Mission: Impossible – Ghost Protocol . In a Twitter exchange yesterday, Pixar veterans Bird, Andrew Stanton and Lee Unkrich geeked out over the joys of 70mm film, dropping a bit of confirmation that Anderson is indeed shooting in the format. In a conversation about 70mm exhibition and 65mm film shooting, Stanton — who just finished his first live-action foray, John Carter , for Disney — Tweeted: ” The Master is indeed in 65. They nearly lost a camera shooting in the Bay.” You’d think Bird would’ve known seeing as Ghost Protocol DP Elswit is Anderson’s longtime cinematographer, but… there you have it. Assuming Stanton is indeed in the know, this would confirm a report earlier this year by the Anderson-watchers at Cigarettes and Red Vines that Anderson was shooting The Master in 65mm with DP Mihai Malaimare Jr., who lensed Youth Without Youth , Tetro , and the forthcoming Twixt for Francis Ford Coppola. Though many speculate that the plot of The Master has ties to Scientology, all that is known officially is that it’s a post-WWII set drama revolving around a charismatic leader of a faith-based organization (Philip Seymour Hoffman) and a drifter who becomes his right-hand man (Joaquin Phoenix). In any case, it promises to be an unusual use of 65mm/70mm than what modern audiences are used to since the scope and visual detail that the format can achieve hasn’t really yet been employed in non-action usage. Surely cause for excitement — right, Anderson fans? (And for you Pixar fans — how amazing was it to witness the Tweet circle between Bird, Stanton, and Unkrich? So nerdy. So awesome.) [@ AndrewStanton , CinemaBlend , Cigarettes and Red Vines ]
It has been an eventful casting week for Paul Thomas Anderson’s untitled religious drama . First, Friday Night Lights star Jesse Plemons joined the project as Philip Seymour Hoffman’s onscreen son. Then Amy Adams was cast as the wife of Hoffman’s pseudo-Scientological religious leader. And today, Variety reports that Twilight Saga: Breaking Dawn – Part II actor Rami Malek has been tapped to play Hoffman’s onscreen son-in-law. Congratulations to all members of P.T. Anderson’s latest onscreen family. [ Variety ]