Tag Archives: film

Seven Psychopaths Filmmaker Martin McDonagh Hopes To Revisit Musical With Tom Waits

One of my favorite movies to screen at the Toronto International Film Festival was Seven Psychopaths , which was written and directed by Irish playwright-turned-filmmaker Martin McDonagh .  Beginning in the mid-1990s, McDonagh caused quite a stir in New York’s theater world with his funny, macabre plays,  The Beauty Queen of Leenane ,  A Behanding in Spokane and The Pillowman.  And in 2008, he turned heads in the film world with his debut feature, In Bruges , which he also wrote and directed.  (If you haven’t seen that film, you should before CBS Films releases Seven Psychopaths on Oct. 12. It’s a dark comic gem with genuine emotional depth about two hit men who go on the lam when a job goes wrong. Seven Psychopaths finds McDonagh in Quentin Tarantino territory, and dare I say, the Pulp Fiction director should watch his back. (By the way, the two have never met.) McDonagh has a stylish way with violence — there’s an exploding head scene in the movie that rocked my world — he structures his films to move like sleek sports cars, and his black wit is sharper than QT’s. (Yes, I did just assert that.)  Check out the trailer below for a riff on Gandhi’s “an eye for an eye” quote that, thanks to Sam Rockwell’s delivery, makes me laugh every time I hear it. In Seven Psychopaths , Rockwell plays a struggling smart-ass actor who, with his non-violent partner-in-crime (Christopher Walken), does a bit of dog-napping to make ends meet. The fun begins when he makes off with the Shih Tzu of a cold-blooded gangster (Woody Harrelson) and implicates his blocked screenwriter friend (Colin Farrell), who happens to be working on a script identical to the film’s title.  (By the way, Farrell, who’s tight with McDonagh, has done some of the best acting in his career in In Bruges and Seven Psychopaths .) I interviewed McDonagh in Toronto, and I’ll be posting the results on Movieline closer to the release date of Seven Psychopaths .  In the meantime, there was one morsel from our conversation that I wanted to share now. The film also stars singer/songwriter Tom Waits as a bunny-loving psycho with some Dexter similarities, and when I asked McDonagh what his next project might be, he told me that he and Waits had been working on “a creepy fucked-up musical” that, he said, Waits was calling A Very Dark Matter .  He added that their collaboration was in the vein of The Black Rider: The Casting of the Magic Bullets , the creepy-funny stage musical that Waits created with avant garde theater director Robert Wilson and Beat maniac William S. Burroughs. After my interview with McDonagh, I searched through some of Waits fan forums and found reference to the project. According to one ,  Wilson was involved with the musical, which was supposed to debut in Paris in 2011, and the story was based on Hans Christian Andersen’s 1847 fairy tale The Shadow , in which a man’s shadow gets the better of him. “It kind of fell through,” McDonagh said of his collaboration with Waits. But, he added, “it’s in the back of my mind to do.” I think a musical by these two masters of black comedy is an exciting idea, and I encourage their fans to encourage them to resume collaborating.  In the meantime, watch the Seven Psychopaths trailer. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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Seven Psychopaths Filmmaker Martin McDonagh Hopes To Revisit Musical With Tom Waits

Deepa Metha’s Toronto Pic Midnight’s Children Effectively Banned In India

She has won a slew of awards around the worldwide festival circuit and an Indian Academy Award nomination for titles including Fire , Water and Bollywood/Hollywood , but Indian-born filmmaker Deepa Metha’s latest Midnight’s Children may never be available to Indian audiences because the current government’s aversion to the film, which had its debut at the Toronto International Film Festival , has made the title unpalatable to distributors. The story, written by Salman Rushdie, who himself received a death Fatwa from the late Ayatollah Khomeini for another one of his novels, The Satanic Verses mirrors India’s history told through the emotional coming-of-age of a young man. India’s ruling Congress Party is the same party of late Prime Minister Indira Gandhi who ruled the world’s largest democracy from the mid-’60s to the late ’70s and again in the ’80s. The story includes a scathing indictment of the Prime Minister who was assassinated in 1984, causing the ire of officials though no outright ban is currently in place. Instead, distributors apparently fear soft reprisals and are avoiding the title. “Salman has often said that the book was his love letter to India,” said Metha as quoted in the Hindustan Times . “I think the film reflects that love. What a pity if insecure politicians deprive the people of India to make up their own minds about what the film means, or does not mean, to them.” This is not the first time that Metha has run afoul of authorities at home. Hindu right-wingers prevented her from filming Water in the country and she shifted production to neighboring Sri Lanka (where she also filmed Midnight’s Children ). And Rushdie’s Satanic Versus remains banned in India. “Ultimately, Midnight’s Children is about the emotional growth of a young man that parallels his country,” said Metha. “An allegory that almost everyone is relating to, despite color, gender, geographic boundaries.” Midnight’s Children will open in 40 countries beginning this fall. [Source: Hindustan Times , BBC ]

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Deepa Metha’s Toronto Pic Midnight’s Children Effectively Banned In India

The Master Plays In New York And Getting Into The Screening Recalls The Heyday Of Studio 54

There’s a scene in the Paul Thomas Anderson’ s enthralling new film The Master where Lancaster Dodd ( Philip Seymour Hoffman ) — founder and leader of a cult-like movement called The Cause — instructs his “guinea pig and protege,” the aptly named Freddie Quell ( Joaquin Phoenix ) to face another man hurling taunts and insults at him without losing his hair-trigger temper. I felt like I was being put through a similar test on Tuesday night when, after being invited to a hastily arranged 70-millimeter advance screening of The Master at the wonderful Ziegfeld Theater in Manhattan, I arrived at the will-call table to find a crowd that, had they been carrying torches, would have been at home in the angry villagers scene of  Frankenstein . The reason for their anger became apparent shortly after I joined the throng:  A woman with bold eyeglass frames and a nervous look on her face announced to the mob that there were simply no more tickets left to hand out.  Those who did not make the cut were instructed to sign up for a Thursday screening of the film. I managed to get Eyeglasses’ attention and explained that, as instructed on Monday, I had confirmed my attendance. She shrugged her shoulders and  replied that the screening had been overbooked and my tickets had simply been given away. To add insult to injury, just a few seconds before Eyeglasses’ you’re-shit-out-of-luck announcement, one of Arianna Huffington’s minions slunk up behind me, invoked the HuffPo priestess’ name, and  received an envelope with tickets. As a longtime observer of the Harvey Weinstein school of stealth marketing, I found the scenario more fascinating than infuriating because in New York preventing a large group of culture addicts from seeing a movie that everyone’s been talking about is actually a sneakily smart way of building interest in the all-important New York market.  Now, I’m not saying the Weinstein Company hosed all those people on purpose, but New York is all about access, and last night, getting into The Master  became a bit like getting into Studio 54 in the late 1970s. For most Gothamites, rejection is a tonic: When someone tells us we can’t do, see or experience something, we redouble our efforts and, better yet for people like  Weinstein, in our quest to succeed, we recruit our friends and infect them with the same passion. Without going into details, that’s exactly what I did, and after seeing The Master , I’m glad I didn’t take no for an answer. (And, by the way, for a screening in which all of the tickets had been given out, I didn’t have any trouble finding a primo aisle seat at the front of the balcony.) To use a term from the film, I am still processing The Master. It’s an intelligent and emotionally complex film that doesn’t provide any easy answers the way that so many films do today.  But if I can’t quite commit to saying it’s a great film, I can say that it has more than a few moments of greatness — and those usually occur when Joaquin Phoenix is onscreen. Phoenix gives the performance of his career so far as the feral Freddie Quell, a naval veteran, who can make moonshine out of torpedo fuel and anything else on hand. (“You can’t take this life straight, can you?” Dodd’s wife, played by Amy Adams, tells Quell at one point.) Freddie is the product of an alcoholic father, an institutionalized mother and a traumatizing war, and Phoenix literally embodies these psychic wounds while portraying a lost soul who is menacing, heart-breaking and darkly comic — sometimes all at once. The New York Times reported that Phoenix studied films of animals in captivity to prepare for his role, but his performance, which is pure id, brought to mind other references. The hunched, arms-akimbo way in which Quell stands recalled Martin Short’s Ed Grimley character from Saturday Night Live , and Groucho Marx. His squinting, sneering tomahawk-like face made me think of Hammerhead from The Amazing Spider-Man comics. When I wasn’t marveling at Phoenix’s performance, I found myself thinking that all of this talk about The Master  taking on Scientology is a marketing MacGuffin. Yes, Philip Seymour Hoffman plays a L. Ron Hubbard-like character, but this movie is really about the relationship between two kindred spirits who, in some respects, are Freudian polar opposites. Quell is pure id, while Dodd is mostly superego, and each seems to yearn for some of what the other man has. For me, one of the key lines of the movie comes near the end when Dodd tells Freddie that if he can find a way “to live without serving a master –any master,” he should report back. Like I said, I’m still processing The Master , and I plan to see it again as soon as I’m able.  Thanks to Harvey Weinstein, I suspect I’ll be waiting in a long line. Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter

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The Master Plays In New York And Getting Into The Screening Recalls The Heyday Of Studio 54

High And Low: Arthouse Freak-Out Beyond The Black Rainbow + Comedy Classic Airplane! Hit Home Video

Cinema connoisseurs of two kinds are in luck this week: Panos Cosmatos’s acid-trip of an arthouse thriller Beyond The Black Rainbow hits shelves as Movieline’s highbrow pick of the week, while the comedy classic Airplane! gets the Blu-ray treatment. Surely you can’t resist? HIGH: Beyond the Black Rainbow (Magnolia Home Entertainment; $26.98 DVD, $29.98 Blu-Ray) Who’s Responsible: Written and directed by Panos Cosmatos; starring Michael Rogers, Eva Allan, Scott Hylands. What It’s All About: A young woman (Allan) in 1983 undergoes “therapy” at the mysterious Arboria Institute, although any outside observer would be forgiven for thinking that she’s being mentally tortured by the twitchy and nefarious Dr. Barry Nyle (Rogers). Can she escape? Will her obsessive tormentor allow her to elude his clutches? Why It’s Schmancy: The word “trippy” just scratches the surface of the gorgeous psychedelic freak-out that’s been crafted here by first-time filmmaker Cosmatos. (His father, director George Pan Cosmatos, was the man behind more decidedly mainstream fare like Rambo: First Blood , Part Two and Tombstone .) Beyond the Black Rainbow pays homage to those ’70s thrillers in which dastardly things were happening behind the seemingly sterile walls of coolly impenetrable high-tech companies ( Colossus: The Forbin Project , Parts: The Clonus Horror , Coma , et. al.) with chilly aplomb; Cosmatos gets the period exactly right, from the hypnotically droning and heavily synth-y soundtrack by Jeremy Schmidt to Dr. Nyle’s black-turtleneck-under-tweed-blazer ensemble. The pace is slow, but the wonderfully weird payoffs are worth it. Why You Should Buy It: While a director commentary from Cosmatos would no doubt be illuminating, the auteur apparently prefers to let the work speak for itself; the only extras are the theatrical trailer and some deleted special effects footage where you get to watch a head melt. (Not a bad metaphor for how many audiences will respond to the film.) LOW: Airplane! (Paramount Home Entertainment; $22.98 Blu-Ray) Who’s Responsible: Written and directed by David Zucker, Jim Abrahams and Jerry Zucker; starring Robert Hays, Julie Hagerty, Leslie Nielsen, Robert Stack, Lloyd Bridges, Peter Graves. What It’s All About: This frenetic and outrageous satire of disaster movies in general (and 1957’s Zero Hour in particular) features shell-shocked war veteran Ted Striker (Hays) pursuing his stewardess girlfriend Elaine (Hagerty) on a flight from Chicago to Los Angeles; when food poisoning strikes the crew, Ted is the only hope of safely landing the plane, with a little help from a doctor (Nielsen), a jittery airport manager (Bridges) and Ted’s former commanding officer (Stack). Why It’s Fun: Many have tried but few have succeeded in copying the machine-gun-fire barrage of visual gags, puns, reference jokes and flat-out anarchic weirdness that have made this spoof one of the great American comedies of all time. It may be silly and sophomoric, but Airplane! is a miracle of pacing, with more laughs per minute than maybe any feature film ever made. Generations of new audiences unfamiliar with the 1970s disaster epics being parodied here still embrace this movie for its timelessly wacky pleasures. If nothing else, this movie may have succeeded at removing the word “surely” from serious conversation. Why You Should Buy It (Again): The extras — a feature-length commentary, pop-up trivia, and a “Long Haul” version of the film that allows viewers to click on icons to look at deleted scenes and interviews — will be familiar to anyone who purchased the previous “Don’t Call Me Shirley” edition. But Airplane! has never looked or sounded as sharp as it does on this Blu-Ray release (previously a Best Buy exclusive, now on sale everywhere). Previously: High And Low: Slapstick Savant Buster Keaton And (Surprise!) Horror Huckster William Castle Bring The Funny Follow Alonso Duralde on Twitter . Follow Movieline on Twitter .

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High And Low: Arthouse Freak-Out Beyond The Black Rainbow + Comedy Classic Airplane! Hit Home Video

Glee Meets Bring It On In Pitch Perfect: Elizabeth Banks & Co. Preview The Mash-Up Musical

If you can appreciate a musical that unabashedly uses a 1996 Blackstreet jam as a communal rallying cry, then Pitch Perfect will be the most fun you have at the movies this year. (Also, we can totally be friends.) Producers Elizabeth Banks and Max Handelman, joined at an LA screening by cast members Brittany Snow, Skylar Astin, Alexis Knapp, Hana Mae Lee, Anna Camp, and Ester Dean, revealed how they first saw the potential in a nonfiction book about real life college a capella competitions – or, in the parlance of Pitch Perfect : The a-ca- drama . In a post-screening Q&A with Just Jared founder Jared Eng, Banks and co-producer/husband Handelman explained that they were inspired by GQ editor Mickey Rapkin’s nonfiction book Pitch Perfect: The Quest for Collegiate A Capella Glory . Based on the ups and downs of real a cappella college teams they developed the feature about Beca ( Anna Kendrick ), a loner college freshman and wannabe mash-up DJ who reluctantly joins the Bellas, a floundering all-girls singing group struggling to sing their way to the top. (Jason Moore, nominated for a Tony for the raunchy Broadway comedy-musical Avenue Q , directs; the script is by 30 Rock scribe Kay Cannon.) Musical numbers abound as the Bellas and their all-male rivals, the Treble Makers, compete through the a capella season and face off on campus. In addition to producing, Banks also provides comic relief in the film as a seasoned a capella competition commentator alongside John Michael Higgins. “The part was meant for Kristen Wiig,” Banks admitted. The film brings Kendrick full circle back to her musical roots; years before making her film debut in the 2003 musical Camp – after which she earned fans from Rocket Science and the Twilight movies and earned an Oscar nomination for Up in the Air — she got her start on Broadway and was nominated for a Tony at the age of 12. Skylar Astin, another Broadway-born talent best known for starring alongside Lea Michele and Jonathan Groff in the original cast of Spring Awakening , makes a big screen splash as Jesse, the classmate/rival who sings his way into Beca’s heart. Being on set was “like an all-star theater camp,” he said, before granting an audience member’s request for a song by belting the theme to The Gummi Bears . As the plus-sized foreign student who introduces herself as “Fat Amy,” Rebel Wilson ( Bridesmaids ) steals scenes left and right (“I’m the best singer in Tasmania… with teeth”). Casting the character presented a unique challenge. “In the script the character is called ‘Fat Amy,’ so it’s really hard to send it to actresses,” Banks said. “Rebel recognized what an iconic character Fat Amy would be.” Chart-topping songwriter/singer Ester Dean, who’s written for Nicki Minaj, Rihanna, and Britney Spears, shared her own unusual Pitch Perfect casting story: After lobbying for a voice part in Universal’s The Lorax , Dean was sent to audition for the role of Cynthia Rose, the tomboyish maybe-lesbian member of the Bellas with a booming voice. She got the part and wrote Rihanna’s “Where Have You Been” during the three-month shoot in Baton Rouge. (In a funny twist of fate she “covers” “S&M” in Pitch Perfect — a song she wrote herself. ) Meanwhile, co-star Brittany Snow, who tapped into her musical talents in Hairspray , plays one of two senior Bellas leaders who take a capella very seriously . Her favorite number? Singing Blackstreet in an empty pool during Pitch Perfect ‘s riff-off, though she was envious that it’s Kendrick who gets to perform the rap intro. No diggity, no doubt. Pitch Perfect opens on September 28. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Glee Meets Bring It On In Pitch Perfect: Elizabeth Banks & Co. Preview The Mash-Up Musical

Breaking Nudes from Toronto: Marion Cotillard, Noomi Rapace, Olga Kurylenko, and More Nude [PICS]

We’ve been providing you with breaking nudes on Piper Perabo’s return to nudity in Looper (in theaters September 28) and the nubile nude co-eds of Spring Breakers (release date TBA), but our Skin Skout has been knee-deep in hot starlets at the Toronto International Film Festival all weekend. Well, ok, that’s half true. Our Skin Skout IS at TIFF, but the closest he’s gonna get to the likes of Noomi Rapace , Marion Cotillard , Olga Kurylenko , Rachel McAdams and Naomi Watts is his seat at the premieres of their new movies. But he’s still getting an eyeful… Get the scoop on upcoming nudes from Passion, Cloud Atlas, Rust and Bone and more from TIFF after the jump!

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Breaking Nudes from Toronto: Marion Cotillard, Noomi Rapace, Olga Kurylenko, and More Nude [PICS]

Christina Hendricks to Play a Fetish Worker Because Ryan Gosling Asked So Nicely [PIC]

It’s no secret that ladies love Ryan Gosling , but now guys have a reason to like the Blue Valentine (2010) star, too. Gosling is re-teaming with his Drive (2011) co-star Christina Hendricks for his directorial debut, the “modern fairy tale neo-noir” How to Catch a Monster . Gosling apparently charmed Hendricks into accepting a starring role in the film by sending her the script in a ” cool box with an interesting little key, and cool artwork in it ,” as she explained to Vulture at TIFF this weekend. But that’s not the SKINteresting part of the story– when pressed to explain more about the ” very surreal club ” where her character works in the film, Hendricks hesitated, then finally admitted that it was a ” fetish club .” She refused to reveal any further details, but we kind of prefer it that way. Will she be popping balloons? Dressed in latex? Getting her toes licked? Wielding a bull whip? No matter what, she’s going to make a select group of people very happy–just hope that it’s your paraphilia she’s referring to. Let your imagination go wild with pics and clips of Christina Hendricks right here at MrSkin.com!

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Christina Hendricks to Play a Fetish Worker Because Ryan Gosling Asked So Nicely [PIC]

Kristen Stewart Didn’t Want To Play On The Road’s Marylou As Just ‘A Wild Sexy Girl’

Before Twilight and even before Kristen Stewart was first approached to be in On The Road by Brazilian-born director Walter Salles, the young actress read the Jack Kerouac novel for school. She told Movieline that she picked up the book because it was an assignment given, but her experience with the now American classic evolved. “I found the book fun,” she said. But after reading and studying it more, it became much more compelling and taught her personal life lessons about growing up, making choices and dealing with inhibitions. She also emphasized that while she played the comparatively wild Marylou, she does not judge her uninhibited character. [ PHOTOS: Kristen Stewart, Garrett Hedlund, and Kirsten Dunst Go ‘On The Road’ in Toronto ] “I learned through the book that you really have a choice about who you surround yourself with. [As a young adult] you realize you can choose who you’re surrounding yourself with,” Stewart told ML in Toronto where On The Road debuted over the weekend. “Up until that point you’re really circumstantially with your family or whatever but at some point you can ‘choose’ your family. “I have a great family by the way, but you need to find people who can pull something out from you that might be otherwise unseen. And when I read the book, I thought, ‘Gosh I need to find people like that.’ I’m definitely not the Marylou type. But as I continued reading it as I got older, the weight of it started to mean something more.” In the film version of the book, Stewart plays Marylou who was first married to, then divorced from, and ultimately a lifelong companion/lover/fellow free spirit to Dean Moriarty. The story centers on Dean (based in real life on Neal Cassady) who meets up with close friend Sal (writer Jack Kerouac’s own stand-in) as the two travel across the U.S. as well as into Canada and Mexico. Like Dean, Marylou is anything but monogamous and she dabbles in pleasures that are alien to the wholesome fun of the prevailing culture of the conservative 1950s. Stewart and the rest of the cast, including Garrett Hedlund (Dean), Sam Riley (Sal) and Kristen Dunst (Camille), met and spoke with relatives of the real-life characters they played in addition to other research before embarking on On The Road . Stewart said that she didn’t want to simply approach Marylou as a rebellious young woman with loose morals, but explained that while she gained understanding of her, she remained, to some degree at least, an enigmatic figure. “To play a part like Marylou, she’s very vivid and colorful but also on the periphery,” said Stewart. “You don’t know her heart and head and the how and why she does what she does. By the time that it came to film, I didn’t want to play her simply as this character that is just a wild and sexy girl. With the research we were able to do, applying the whys and getting to know the people behind the characters makes you think about the book differently.” Stewart continued, “It’s not easy to live a life like that and that’s what makes these people remarkable. I did always wonder how she could take it. How deep is that well? How much can you have taken from you? What I found about her is, that uniquely to her — and not to the time she lived in — was her capacity to see through people’s flaws and see past them, which was unbelievable. She was just such a wonderful woman. She was infectious. And, no, I did not judge her.” Kristen Stewart appeared at some moments very pensive and at other moments playful in describing her role and unusually long attachment to On The Road . The period coincided with being catapulted to the height of fame through the Twilight franchise, which morphed into zealous attention from so-called Twi-hards who lived vicariously through her and her equally lauded co-star and real-life boyfriend, Robert Pattinson. And as the world now well knows, that relationship hit the skids in the glare of legions of fans through an onslaught of media spectacle . Just weeks after the tidal wave of attention, Stewart bravely faced media for On The Road , though handlers were clear before assigning interview time — the subject needed to remain “on topic.” Still, Stewart talked about herself personally, saying that the experience she had with On The Road had provided her some life lessons both professionally as an actor and also as an individual. “If this has taught me anything, it’s just that if you stop thinking and just breathe through it, you’re such a better actor. You just have to do the work initially and then trust that you’ve already done that work and not get too analytical. You have to trust that you’ve already completed that effort,” she said. And beyond the work, Stewart said she now has more confidence to say what she thinks with less fear than in her earlier years. “It’s opened me in a way that’s probably more appropriate to my age. I think I’m a bit less inhibited, and not thinking too much before speaking. It’s not about being shameful, I’m just a bit more unabashedly myself because of this thing, and it probably started at age 15. I can be around people and say what I think without fear.” Previously: Kristen Stewart Talks ‘Hard Love’ In Toronto For On The Road Read more from the Toronto Film Festival. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .

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Kristen Stewart Didn’t Want To Play On The Road’s Marylou As Just ‘A Wild Sexy Girl’

What Do You Think? New Film ‘Wolf’ Sheds Light On Abuse In The Black Church

The new film touches on the taboo topics of abuse and scandal in the church that are too often swept under the rug. There was a time when abuse in the church was thought to be the exclusive province of the Catholic church, but in recent years mushrooming allegations of abuse have reared its ugly head in the black church as well, shaking once heavily populated congregations to their very foundations. With his new movie “Wolf,” filmmaker Ya’ke Smith wants to shine a light in the darkness of a taboo subject that has lurked (and thrived) in the shadows for years. “The title comes from the analogy ‘a wolf in sheep’s clothing,’” explained Smith. “The preacher is hiding in this God-like clothing, coming off as a spiritual person who is helping everyone, but he’s lurking through the congregation, looking for the weaklings. From his actions, he is also turning other boys into wolves, promoting that cycle of abuse.” In the wake of the Bishop Eddie Long scandal, where the once blemish-free, mega-church preacher found himself settling out of court with a group of teenage boys who accused him of luring them with extravagant gifts in exchange for physical favors, there are those who might say that “Wolf” is coming at an opportune time. The film has been making its rounds around the country via the film festival circuit. Though it has yet to secure distribution for screenings in movie theaters, it is still one of the most talked about independent films today. What do you think about exposing abuse in the church? Source Images via Vimeo/Shutterstock

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What Do You Think? New Film ‘Wolf’ Sheds Light On Abuse In The Black Church

Anthrax’s Frank Bello Says Penn Badgley ‘Blew Me Away’ In Greetings From Tim Buckley

Thrash metal god Frank Bells says Penn Badgley nailed his portrayal of the late singer Jeff Buckley in Greetings From Tim Buckley  — and he’s one to know. As unlikely as it may seem, the Anthrax bassist, who plays punk icon Richard Hell in the movie, is, as he put it, “a Jeff Buckley diehard forever.”  And after seeing the film for the first time at the Toronto International Film Festival on Sunday night, Bello was singing Badgley’s praises. At a post-screening dinner at Bloke & 4th on King Street, Bello told me he was initially skeptical when he learned the Gossip Girl actor would be playing the sui-generis singer, but any lingering doubts he had were dispelled in Toronto. “I hadn’t seen any dailies or anything before tonight, and Penn blew me away.” Bello said. The Anthrax bassist added that he was particularly impressed by what will probably become the most talked-about scene in the movie: in which Badgley does an extended octave-jumping a cappella  singing improvisation in a New York City record store.  “When Penn did that record-store scene, I was like fucking go for it dude. And he literally went for it. He let go. He became that character, ” Bello said. “And, as a Buckley fan, that’s all I could ask of somebody who played him.  Penn went for it. And he got it.” Directed by Daniel Algrant ( People I Know ),   Greetings From Tim Buckley  is about Jeff’s attempts to get out from under the shadow cast by his late father, singer/songwriter Tim Buckley, who’s portrayed by Ben Rosenfield in the picture.  Buckley pere died from a drug overdose at the age of 28, but, despite his short life, left behind a substantial, mostly critically acclaimed body of work, including nine studio albums. Jeff Buckley was working on his second album in Memphis, Tenn. when he drowned while swimming in the Wolf River there. He was 30. Toronto festival goers who attended the screening gave it a big round of applause at the end, but saved their most raucous cheering for Badgley, who gives a break-out performance in this picture. At the party, Bello, who also makes memorable use of his screen time in Greetings , told me that his plan is to do more acting next year when Anthrax will be off writing a new album.  “I always wanted to be a character actor,” the theatrically trained Bello told me. “I love the process.” Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter. 

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Anthrax’s Frank Bello Says Penn Badgley ‘Blew Me Away’ In Greetings From Tim Buckley