Tag Archives: festivals

SUNDANCE: Richard Gere Wall Street Thriller Arbitrage Leads Latest Deals (Updated List)

Our Sundance bidding-war preview may have foreseen only part of the fervor around the John Hawkes/Helen Hunt drama The Surrogate , but how’s this for compensation: As predicted , the Richard Gere/Susan Sarandon Wall Street thriller Arbitrage went to Roadside Attractions (with its partners at Lionsgate) for just over $2 million . Bam! That’s not it for deals, either: Get the updated roster of Sundance pics -– and see which offerings earned raves, and which didn’t — after the jump. Arbitrage (Lionsgate/Roadside Attractions) – Nicholas Jarecki’s dramatic feature-filmmaking debut stars Richard Gere as a billionaire hedge-fund fraud seeking to cash in before he’s exposed. Susan Sarandon, Brit Marling and Tim Roth co-star. Look for the studio duo to duplicate the multi-platform success they enjoyed in 2011 with Margin Call , another financial-world potboiler picked up in Park City. The Surrogate (Fox Searchlight) – Sundance favorite John Hawkes turns in an brave performance as real life poet Mark O’Brien, who yearns to lose his virginity with a sex therapist (Helen Hunt) despite being paralyzed from the head down. Fox Searchlight paid a reported $6 million for the pic, which may face tricky ratings deliberations due to Hunt’s full frontal nudity. Beasts of the Southern Wild (Fox Searchlight) – The smallest narrative to get a deal thus far at Sundance comes off of strong buzz and acclaim for the tale of a young girl and her ailing father who live in a fantastical alternate version of the American South. Red Lights (Millenium Films) Negative reviews hurt the profile of this Rodrigo Cortes ( Buried ) thriller, despite featuring Cillian Murphy, Sigourney Weaver, Robert De Niro, and last year’s Sundance darling Elizabeth Olsen. For a Good Time, Call… (Focus Features) – The feature debut of shorts director Jamie Travis pairs Lauren Anne Miller and Ari Graynor as frenemies who start a phone sex line together, one of a gaggle of raunchy female-driven comedies in this year’s line-up. Celeste and Jesse Forever (Sony Pictures Classics) – With Rashida Jones and Andy Samberg leading a cast of familiar players, this was bound to attract buyer attention galore. Sony Pictures Classics snatched it up for a reported $2 million, adding C&J to their previous Sundance acquisitions Searching for Sugar Man and The Raid. Previously announced Sundance 2012 deals: Searching for Sugar Man (Sony Classics) – The documentary about 1960s musician Rodriguez played well to critics and was snatched up by SPC for a reported six figures. The Queen of Versailles (Magnolia Pictures) – Another well-received doc, Lauren Greenfield’s examination of Florida real estate mogul David Siegel was picked up by Magnolia on Friday. Black Rock (LD Distribution) – Katie Aselton’s thriller about three female friends (Aselton, Lake Bell, Kate Bosworth) surviving a weekend getaway gone wrong was the first Midnight selection to seal a deal, partnering with newbie venture LD Distribution. The Words (CBS Films) – Bradley Cooper, Zoe Saldana, and Jeremy Irons lead a cast of recognizable stars in this literary drama about a writer (Cooper) who claims credit on someone else’s manuscript and is confronted by its real author, so it’s easy to see why buyers were interested. CBS Films reportedly made the most expensive buy of the fest so far, laying down $2 million for the film. Whether or not that move was smart remains to be seen, as this first review over at The Playlist is less than encouraging. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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SUNDANCE: Richard Gere Wall Street Thriller Arbitrage Leads Latest Deals (Updated List)

Sundance Diary: Stephen Frears and Spike Lee Stumble, Stymie with Sundance Selections

Coming to Sundance with new films in the Premieres section, both Stephen Frears and Spike Lee were navigating new terrain, a pair of established directors seeking distribution for their independent features. Frears’ betting memoir/dramedy Lay the Favorite went first, premiering to dismal reviews Saturday night. Lee’s Red Hook Summer , a hotly anticipated entry that brings him back to his Brooklyn wheelhouse after the underperforming WWII pic Miracle at St. Anna , followed Sunday, drawing mixed initial reactions from Twittering press. The Frears, as I shall call it, should turn out to be the bigger critical fail of the two. Based on Beth Raymer’s book detailing her experience in the world of sports betting, it’s an annoyingly bright, tone-deaf character comedy-drama built around a ditzy young stripper (Rebecca Hall) who finds she’s good at running numbers and becomes a betting agent in Vegas under veteran Bruce Willis; when the attraction between them complicates things, Beth strikes out on her own and, through a series of near-felony crimes and poor decisions, learns to grow up, kinda. It’s a shame that Hall, one of the best actresses to emerge of late, is stuck putting on one of the most grating voices and personalities in recent memory here. Transformed into a daisy dukes-wearing, hair-twirling, ditzy coquette who speaks in a breathy prattle, she comes off like a selfish, immature savant in a stripper’s body. On the flip side, Willis does nice work as Beth’s married, simpatico boss Dink, and Frank Grillo and Wayne Pére breeze in to perk up the proceedings as assistant bettors, though Vince Vaughn ratchets the manic energy to 11 as a rival agent. But Frears is too enamored of his colorful cast of zany characters — including a trophy wife played by Catherine Zeta-Jones, Laura Prepon sporting a turrrible Southern drawl, and Joshua Jackson as the only normal character in the film — to realize how little we care about most of them. I watched a dozen people around me walk out during the film’s premiere. Since this is Sundance this could’ve meant nothing, since they might have been buyers doing their thing. But if they hadn’t been, if they had been regular festival-goers who simply valued their time too much to finish the film, I wouldn’t have been surprised. Either way, I kind of wish I’d joined them. This was not quite the case for Spike Lee’s Red Hook Summer , however (which I see Monday morning with the Press & Industry crowd). Word following Sunday’s premiere was sharply divided, with reactions ranging from praise-filled (“Spike Lee’s RED HOOK SUMMER is a passionate, painful love letter to Brooklyn, NYC, black America & the black church, Tweeted Salon’s Andrew O’Hehir . “Very special movie.”) to derisive (“…one of the worst movies to ever premiere at #sundance,” declared ComingSoon’s Ed Douglas ). Some, like CinemaBlend’s Katey Rich, expressed a need to deliberate further before passing judgment: “Already regretting instant Red Hook Summer reaction. I need more time to let it settle. Forget everything I said!” Stay tuned to Movieline’s Sundance coverage for more on Red Hook Summer and Spike Lee. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Sundance Diary: Stephen Frears and Spike Lee Stumble, Stymie with Sundance Selections

‘WHERE THE F–K IS DRAKE?’ When Rappers Are Tardy to Sundance…

“Aziz [Ansari], barely audible over the jabbering crowd and telling jokes skewering everything from the gay hookup app Grindr to the sanctity of marriage, is bombing terribly. He’s visibly annoyed. All of a sudden, Cuba Gooding Jr. bum-rushes the stage out of nowhere, snatches Aziz’s microphone, and yells, ‘Everybody, shut the FUCK up! Have some respect for the black men onstage.’ Aziz —who is Indian— looks baffled, and when Cuba exits, remarks, ‘Y’all would be paying more attention if we were showing Boat Trip up here!’ Aziz: 1, Cuba: 0.” [ Sundance Channel / Daily Beast ]

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‘WHERE THE F–K IS DRAKE?’ When Rappers Are Tardy to Sundance…

Sundance Diary: Seeking (and Finding) Karaoke in the Snow

I ran into Salt Lake Tribune critic Sean Means tonight at Sundance in a packed RV decked out with a mini tiki bar, neon lights, and a booming sound system — also known as the RVIP Lounge and Karaoke Cabaret , a tricked-out mobile karaoke mecca and the jammingest place you’ll find in Park City all week. Since the word’s out ( read his account of the karaoke madness ), here are my two cents: You can have your Drizzy Drake concerts and Bing Bar bashes, but for my money there’s no better way to thaw out from the snow and mingle with Sundance strangers than while belting a karaoke jam or two. The thing about socializing at Sundance is that it can be incredibly frustrating and annoying if you do it the old-fashioned way. Park City imports non-film folks every year who show up to ski by day and get past velvet ropes at night, turning Main Street into douche-infested waters at sundown. Bars are overcrowded and parties all look the same after a while, so thank goodness for alternatives… like recreational vehicles outfitted with karaoke rigs and loud microphones. The RVIP Lounge hails from Los Angeles, courtesy of master KJ/party hosts Kestrin Pantera (pictured above), Jonathan Grubb, and Eva Kim where it zooms from place to place picking up eager singers. When the RVIP folks announced they were Park City bound this year, my heart leapt; no film festival, at least stateside in my experience, is complete without some sort of karaoke. (And while I haven’t quite figured out why movie people love karaoke so much, it’s an inarguable constant in this world, the social lubricant that unites many folks in the film community at large.) Friday night the Tim & Eric crowd sang as the intrepid RVIP navigated the icy mountain roads of Park City, but Saturday the mobile karaoke lounge held court near Sundance HQ. Look for them there Sunday as well – they’ll be the ones in the RV illuminating the night sky with bright colored lights. (Make sure to check their whereabouts on Twitter , this week in Park City and back in L.A.) Inside the RVIP you’ll find a cross-section of Sundance-goers – industry folk, journalists, filmmakers. The songbook is decent, the company even better, and when the place gets packed it takes on a life of its own. “How did I get to this magical place? What the hell is happening right now?” you may wonder as the entire RV erupts in song and someone plays air guitar on a light saber as you sing ditties like 2Pac’s “California Love” or Bonnie Tyler’s “Total Eclipse of the Heart.” It’s all part of the wonder that is the RVIP, which may have single-handedly saved the 2012 Sundance party scene. [Bonus: This week in addition to the RVIP, at least one other karaoke event is on the docket for the remainder of Sundance 2012 as CAVU Pictures hosts a karaoke throwdown Monday, January 23 for film and industry folks.] Got a hot tip on Sundance 2012 karaoke? Drop Jen Yamato a line on Twitter . Follow Movieline on Twitter . Get more of Movieline’s Sundance 2012 coverage here .

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Sundance Diary: Seeking (and Finding) Karaoke in the Snow

SUNDANCE: Simon Killer Polarizes, But Maybe That’s a Good Thing

The most polarizing films are often those that dare to push the envelope farther than is expected or comfortable, whether audiences are ready for them or not, and for this reason I tend to find the divisive films more interesting than those with universal praise or derision. Simon Killer , from Afterschool director/ Martha Marcy May Marlene producer Antonio Campos, reminded me of this rule when it debuted Friday at Sundance and left critics and bloggers somewhat split. Simon Killer marks the return of Borderline Films partners Campos, Sean Durkin, and Josh Mond to Sundance after debuting their Martha Marcy May Marlene last year (which was directed by Durkin), and like MMMM it focuses on a seemingly lost young twentysomething searching for their identity and place in the world while said world grows increasingly sinister. Here, however, that creeping menace doesn’t come from an outside threat but rather from within protagonist Simon (Brady Corbet), a recent college grad who’s drifted to Paris after a bad break-up. Taking up with a local prostitute (Mati Diop), Simon insinuates himself into her life driven by loneliness and longing, but piece by piece the portrait he paints of himself, to her and to the audience, starts to feel jarringly and disturbingly false. Campos presents his sophomore feature as an exercise in perception cued by Simon’s intellectual fascination, as he describes to pretty strangers and acquaintances alike, with the way the eye and the brain interact. Seeing is believing, but it’s not necessarily knowing; is this a young man nursing heartbreak in completely normal human ways — or a sociopath in the making? Campos employs a striking visual flair and bold use of sound and music, cleverly using diegetic sound, voice-over, and strobing effects to evoke Simon’s internal experience to allow us to tap into Simon’s psyche, bit by bit. The problem is that by the film’s midpoint Simon is so unlikeable and so morally detestable that you find yourself wondering why it is you should root for this miserable little slug, or care what happens to him, or, perhaps, even stay to the end. But the end is where Campos brings it all back together and leaves us to ponder the new picture we have of our protagonist, an unreliable narrator minus the narration. You’re not supposed to like Simon, or root for him, or care if a happy fate befalls him; he is, potentially, a monster in the making — possibly even one damn well fully formed — and Simon Killer only seeks to explore what he is and how he operates, how he, or someone like him, could operate in the world around us without giving off the slightest of clues to his true nature. [Campos, after the film’s premiere, offered a chilling bit of explanation: He was inspired by the case of Joran van der Sloot, the Dutch man suspected in the 2005 disappearance of Natalee Holloway who was convicted of murdering a woman five years later in Peru.] While I’m on the subject of polarizing Sundance 2012 films, I also caught Tim & Eric’s Billion Dollar Movie , a comedy feature spin-off of Tim Heidecker and Eric Wareheim’s cult series which is itself a pretty “take it or leave it” kind of property. More on that and its critical reception here in Park City, to come. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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SUNDANCE: Simon Killer Polarizes, But Maybe That’s a Good Thing

Drive Fan-Made Animated Trailer: Facestomping for Kids!

Drive fanaticism is still in (groan) overdrive. The team of Bruno et Tom have created an alternative trailer for Drive featuring The Driver’s silver scorpion jacket, well-lit stoicism, and a bit of musical mimicry. He’s an animated hero! And an animated human being! Coming soon to the Fox Kids lineup. Check all out the cartoon facestomping after the jump.

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Drive Fan-Made Animated Trailer: Facestomping for Kids!

High School Romances and Hip Family Dramas: Sundance 2012 Competition Slates Announced

It’s nearly December which means that it is time for the Sundance Film Festival to announce their competitive programming selections. This year, the slates are varied containing two (2!) Mark Webber features, one Jonathan Kasdan teen rom-com, another Lena Dunham-penned dysfunctional NYC family drama and a number of titles that span genres and the globe.

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High School Romances and Hip Family Dramas: Sundance 2012 Competition Slates Announced

High School Romances and Hip Family Dramas: Sundance 2012 Competition Slates Announced

It’s nearly December which means that it is time for the Sundance Film Festival to announce their competitive programming selections. This year, the slates are varied containing two (2!) Mark Webber features, one Jonathan Kasdan teen rom-com, another Lena Dunham-penned dysfunctional NYC family drama and a number of titles that span genres and the globe.

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High School Romances and Hip Family Dramas: Sundance 2012 Competition Slates Announced

Charlotte Gainsbourg on Melancholia, Kirsten Dunst and Lars von Trier: ‘He’s Always Right’

This week finally brings Melancholia to limited theatrical release in the US, where prospective viewers have spent the five months since its Cannes premiere attempting to parse the great , fraught , near-instant mythology of director Lars von Trier’s latest masterpiece. Finally the work can speak for itself — or mostly speak for itself, anyway, with help from co-star and modern-era von Trier muse Charlotte Gainsbourg.

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Charlotte Gainsbourg on Melancholia, Kirsten Dunst and Lars von Trier: ‘He’s Always Right’

Soderbergh at AFI Fest: Angelina Jolie Meets Steven Seagal in Haywire’s Gina Carano

AFI Fest ‘s “secret” screening of Steven Soderbergh ‘s Haywire wasn’t so much a showcase for the AFI darling as it was a coming out party for MMA bruiser-cum-action heroine Gina Carano, whom Soderbergh glimpsed fighting one night on TV and subsequently built a star-studded spy thriller pic around. But it’s hard to say if first-time actor Carano will branch out in a film career beyond the often lo-fi action experiment. Is she a hybrid of Angelina Jolie and Steven Seagal , as Soderbergh suggested Sunday night? Or is there more of a Cynthia Rothrock quality to Carano’s steely gaze and powerhouse physicality?

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Soderbergh at AFI Fest: Angelina Jolie Meets Steven Seagal in Haywire’s Gina Carano