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High And Low: Wenders’ ‘Pina’ Is Less Stodgy & Travis’ ‘For A Good Time, Call…’ Less Stupid Than You Might Think

This week’s High and Low celebrates the sublime and the obscene. But though the two movies I’ve spotlighted couldn’t be more different, they’re both a lot of fun. Perhaps the case could be made that both movies celebrate female artists and their unique voices, but that might be stretching things a tad. Still, you might find yourself surprised by these titles — one’s less stodgy, and the other less stupid, than the casual observer might at first realize. HIGH: Pina (The Criterion Collection; DVD $29.95, Blu-Ray/3D Blu-Ray Combo Pack, $49.95) WHO’S RESPONSIBLE: Directed by Wim Wenders ; featuring dancers from the Tanztheater Wuppertal Pina Bausch. WHAT’S IT ALL ABOUT: A celebration of the work of revolutionary dancer and choreographer Pina Bausch , whose visionary ideas about dance ranged from the kinds of movement that could be incorporated into performance pieces to the use of water, dirt and rocks onstage. (If you’ve seen Pedro Almodóvar’s Talk to Her , the dance pieces that bookend that film are Bausch works.) The interviews aren’t particularly illuminating, but the dance comes alive for Wenders’ camera, particularly since he shot in 3-D, which in this case helps make the cinematic experience more like being there live. WHY IT’S SCHMANCY: Even if the words “modern dance” send chills down your spine, Wenders makes this work very approachable, mixing performance with occasional narration from the late Bausch’s collaborators and acolytes in a way that brings us in and lets even dance newbies understand why this work is so groundbreaking and extraordinary. WHY YOU SHOULD BUY IT: Criterion goes 3-D for the first time with this release, and they couldn’t have picked a better movie to show off the process. There’s not a lot leaping out at you. Wenders instead goes for depth, and the effect both highlights the movement of the dancers and creates a physical context for their movement. There’s also the usual truckload of Criterion extras, including an interview with and commentary by Wenders, deleted scenes and a booklet that makes up for one of the movie’s minor shortcomings by identifying the dancers. LOW: For a Good Time, Call… (Universal Studios Home Entertainment; DVD $29.89, Blu-Ray $34.98) WHO’S RESPONSIBLE: Directed by Jamie Travis ; written by Lauren Miller and Katie Anne Naylon; starring Miller, Ari Graynor , Justin Long , Seth Rogen, Kevin Smith. WHAT’S IT ALL ABOUT: Recently dumped and between gigs, Lauren (Miller) is forced to share digs with her old college nemesis Katie (Graynor). The two become best pals after Lauren discovers that Katie is working as a phone-sex operator — and that the strait-laced Lauren, much to the surprise of both, is a natural at talking dirty for 99 cents a minute. WHY IT’S FUN: I know, the idea of a phone sex comedy feels at least a decade and a half out of date, but For a Good Time, Call… does a convincing job of making the idea of hot telephone chat seem contemporary, even in the Internet age. What’s such a treat about the movie is the way that it explores the intimacy of female friendships, while also allowing its leading ladies to be bawdy and outrageous in a way that never feels like a man’s idea of what a potty-mouth woman would sound like. WHY YOU SHOULD BUY IT: Given the film’s racy premise, it’s not surprising that they’ve got a longer, “unrated” cut that features even more smutty humor than the theatrical version. If you’ve got the time, they’ve got the funny. Alonso Duralde has written about film for The Wrap, Salon  and MSNBC.com . He also co-hosts the Linoleum Knife  podcast and regularly appears on  What the Flick?! (The Young Turks Network) .  He is a senior programmer for the Outfest Film Festival in Los Angeles and a pre-screener for the Sundance Film Festival. He also the author of 101 Must-See Movies for Gay Men  (Advocate Books). Follow Alonso Duralde on  Twitter. Follow Movieline on  Twitter. 

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High And Low: Wenders’ ‘Pina’ Is Less Stodgy & Travis’ ‘For A Good Time, Call…’ Less Stupid Than You Might Think

‘Star Trek Into Darkness’: Benedict Cumberbatch’s Identity Revealed?

The release of the first issue of a three-part prequel comic to Star Trek Into Darkness   has lent some credence to the theory that the true villain of JJ Abram’s upcoming movie is not Khan or Gary Mitchell , but rather Robert April, the very first captain of the Starship Enterprise.   HitFix’s Drew McWeeny first raised the idea late last year after Abrams’ Bad Robot held a press day for the feature, which hits theaters in May, and now Brandon Connelly at Bleeding Cool has posted panels from the prequel comic which feature April. Star Trek Into Darkness screenwriter/producer Roberto Orci has said that the film’s will be a canon character, and April is. He was introduced in the animated Star Trek series that ran for 22 episodes in 1973 and ’74.  As McWeeny notes below, although Bad Robot has not confirmed that April figures in Star Trek Into Darkness ,  the plot of the animated episode that featured April appears to dovetail with aspects of the movie that have been revealed so far:  He first appeared in the animated series, and in the episode where he appeared, it was established that he was was the first Captain of the Enterprise, even before Pike.  He was much older in the episode, “The Counter-Clock Incident,” which you can watch right now if you have NetFlix Instant.  In that episode, everyone on the Enterprise starts to age backwards, and by the time they’re all kids, unable to fix the problem, only April and his wife are still old enough to figure out how to reverse the process.  April figuring out that mechanism for how to control aging and even reverse it could be an important part of the plot for “Star Trek Into Darkness.”  If you saw the first nine minutes of the film in front of ” The Hobbit ,” then you already know that the film opens with a London couple driving to the hospital where their daughter lies immobilized, and from the few shots we see of her, she appears to be aging too rapidly.  At the end of that scene, her father (Noel Clarke) steps outside for some air, and that’s when Cumberbatch shows up and tells him, “I can cure her.” As McWeeny points out in his post, Peter Weller , who’s also in STID could very well turn out to be April instead of Cumberbatch, who Abrams has chosen to identify simply as John Harrison . Whoever he turns out to be when the movie finally premieres, one thing is clear:  this whole who-is-Benedict-Cumberbatch? mystery is brilliant guerrilla marketing on Bad Robot’s part. Here’s the revealing comic panel that Bleeding Cool posted. It’s the final page of the first issue of Star Trek: Countdown to Darkness. [ HitFix , Bleeding Cool ] More on Star Trek Into Darkness :  ‘Star Trek Into Darkness’: Cumberbatch’s Identity, Carol Marcus, And A New ‘Trek’ Villain Theory Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.  

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‘Star Trek Into Darkness’: Benedict Cumberbatch’s Identity Revealed?

SUNDANCE: Directors Tease ‘Dirty Wars,’ ‘Fire In The Blood,’ ‘God Loves Uganda,’ ‘A Teacher,’ ‘Computer Chess’

The Sundance Film Festival heads into the week with more world premieres and a peek at many of the films that will grace the Specialty Big Screen this year. Beginning last week , Movieline posted details about this year’s U.S. and World Competition films and filmmakers in their own words. In this round, Richard Rowley ( Dirty Wars ), Dylan Mohan Gray ( Fire in the Blood ), Roger Ross Williams ( God Loves Uganda ), Hannah Fidell ( A Teacher ) and Andrew Bujalski ( Computer Chess ) preview their films. [ Related: WATCH: Get To Know 5 Sundance Film Festival Filmmakers (And Their Films) ] Dirty Wars by director Richard Rowley [U.S. Documentary Competition] Synopsis: It’s the dirty little secret of the War on Terror: all bets are off, and almost anything goes. We have fundamentally changed the rules of the game and the rules of engagement. Prior to 9/11, it was customary for America to sound a formal declaration of war on a given country before attacking. Today drone strikes, night raids, and U.S. government–condoned torture occur in hidden corners across the globe, generating unprecedented civilian casualties. Investigative reporter Jeremy Scahill traces the rise of the Joint Special Operations Command (JSOC), the most secret and elite fighting force in U.S. history, exposing covert operations carried out by men who do not exist on paper and will never appear before Congress. No target is off-limits for the JSOC “kill list,” even if the person is a U.S. citizen. [Courtesy of Sundance Film Festival] Responses by Richard Rowley Dirty Wars quick pitch: Part action film and part detective story,  Dirty Wars  is a gripping journey into one of the most important and underreported stories of our time. We follow investigative journalist Jeremy Scahill, who is pulled into an unexpected journey as he chases down the hidden truth behind America’s expanding covert wars. …and why it’s worth checking out at Sundance and beyond: Dirty Wars  takes on the issues everyone’s talking about right now. With  Zero Dark Thirty ,  Argo , drones, Benghazi, and the nomination of John Brennan — America’s covert wars are back in the headlines. Dirty Wars  reveals how these wars have been hidden in plain sight all along and offers a behind-the-scenes look at a high-stakes investigation into the operations, and even the same people, fictionalized by Hollywood and discussed on Capitol Hill. Dirty Wars  is not “based on actual events” — it  is  actual events. The focus has been on one raid by Special Forces that killed one man, Osama bin Laden. That same year, there were thousands of raids and we’re ten years into wars not just in Afghanistan and Iraq, but also in Somalia, with new fronts in Yemen and elsewhere. That’s the story of  Dirty Wars  and it couldn’t be more timely and urgent for Sundance and other audiences. How it all came together: The film that will premiere at Sundance looks and feels nothing like the film we set out to shoot. During our three years in production, we hit major roadblocks just trying to confirm basic information about the Joint Special Operations Command, a secret, elite force reporting directly to the White House. Few in government would go on record. Talking heads? That was out of the question. We had to find another way in to the story. So we went far afield and to new sources. As a result, the final film is more compelling, and surprising. When I realized that there were two dramatic arcs — one of America’s expanding covert wars, and another the personal story of the reporter, Jeremy Scahill — I knew I’d have to convince Jeremy to be in front of the camera. It made him uncomfortable. But he was the right choice to guide us through a complex story. By the end, in our editorial meetings, even Jeremy started to refer to himself in the third person. Mogadishu was by far the most dangerous place I’ve ever been, though I’ve reported from war zones for many  years. We didn’t want drive-by journalism: in and out in a few days, talking to government officials in hotel lobbies. But getting to the war’s front lines, without drawing too much attention to ourselves, proved complicated. Our Somali country coordinator made it possible. Meanwhile, our producers took out kidnapping, dismemberment, and ransom insurance. Estimating the cost of my arm before we set out – well, that was something new. —

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SUNDANCE: Directors Tease ‘Dirty Wars,’ ‘Fire In The Blood,’ ‘God Loves Uganda,’ ‘A Teacher,’ ‘Computer Chess’

SUNDANCE REVIEW: Back-up Singers Take Center Stage In Rousing, Intimate ‘Twenty Feet From Stardom’

Pulling raw talent from the footnotes of rock ‘n’ roll history and splashing their names up on the marquee where they belong, Twenty Feet From Stardom wages a compelling crusade to get background singers some long-overdue recognition. Featuring such stalwarts as Darlene Love, Merry Clayton, Lisa Fischer and Tata Vega — many of whose voices are well known even if their names are not — this rousing group portrait should have commercial legs as long as its subjects’, leaving satisfied audiences everywhere listening with new ears. Director Morgan Neville’s loving spotlight, produced by late A&M Records exec Gil Friesen, ensures their contributions will go unsung no more. Not everyone is cut out for stardom, observes Bruce Springsteen at the outset, and the film ultimately hammers its “coulda been a contender” point a little too hard when circling back to that idea in the final stretch. But for most of its running time, this personality-packed docu is nothing short of absorbing as it recaps the essential role African-American background singers played in shaping the sound of 20th-century pop music. Hailing from the gospel tradition (all the big names grew up singing in church, and many had preachers for parents), these vocal powerhouses were the soul of a new sound being practiced by everyone from Ray Charles to Elvis Presley , replacing the earlier model, in which clean-cut crooners performed alongside two or three white ladies. Now in her 70s and reunited here with the Blossoms, Love paved the way for black women to support some of the most successful names in rock history, occasionally even “ghosting” for other acts who took the credit. That’s Love singing lead on the Crystals’ hit “He’s a Rebel,” for example, though producer Phil Spector personally stood in the way of her solo career. Most of the time, the music-buying public had no idea whom they were listening to, but the industry folks certainly did, creating opportunities for the likes of Clayton, who recalls screaming “Rape! Murder!” for the Rolling Stones’ “Gimme Shelter” in the middle of the night with curlers in her hair, and the Waters Family, featured on “Thriller” and “The Circle of Life” (who, amazingly, also recorded dino-bird sounds on Avatar ). In virtually every minute of its first hour, the film reveals fresh details many might not already know about songs they’ve heard countless times, reinforcing its points with sound bites from Mick Jagger , Stevie Wonder and Sting. These stars aren’t merely endorsing the vocalists they swear by, either; speaking candidly, they offer meaningful observations about the vagaries of the biz. Neville’s approach establishes a real intimacy with the half dozen singers he follows most closely, varying the camerawork and editing just enough among them to capture the distinct personality of each. The featured ladies represent several generations of success and struggle, and the pic brings the myriad talking points to life with rare TV appearances, half-forgotten milestones and other archival treasures, while nifty graphics help direct viewer attention, putting the sidelines in our sight lines. And then comes the heartbreak. Though a few have broken out of the background to become headliners — like male example Luther Vandross, who started out singing support for David Bowie — most rely on the generosity of other artists for what limited exposure they get. At one point, Love was reduced to cleaning houses, and former “Ikette” Claudia Lennear (who posed for Playboy at the height of her celebrity) now works as a Spanish teacher. Some, like Grammy winner Fischer, seem more comfortable enriching others’ performances, while up-and-comer Judith Hill (who sang at Michael Jackson’s funeral) risks undermining her personal momentum every time she accepts a supporting gig. As the film’s title wistfully suggests, many background singers have musical talent far exceeding those for whom they have performed — a subject rich enough to have fueled the tuner Dreamgirls . And yet, for various reasons ranging from market forces to the fact they didn’t write their own songs, they never managed to launch successful solo careers. Just as entire documentaries could be made about one-hit wonders, the discussion of near-miss stardom is almost a distraction from the enormous contribution these vocalists have made to contemporary music, while reducing the measures of success to fame and fortune. And yet, this perceived injustice gives the pic a catchy hook, no doubt creating fresh career opportunities for its subjects, if not necessarily the stardom that has so long eluded them. Follow Movieline on Twitter. 

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SUNDANCE REVIEW: Back-up Singers Take Center Stage In Rousing, Intimate ‘Twenty Feet From Stardom’

REVIEW: Arnold Schwarzenegger Is Back In Dumb, Fun ‘Last Stand’

“Welcome to Sommerton!” growls Arnold Schwarzenegger in his comeback flick, the ultra-bloody shoot-em-up The Last Stand . As Arnie catchphrases go, it’s no “Hasta la vista, baby” — hell, it’s not even a “Consider this a divorce” — but it’s been 10 years since the Terminator starred in a movie and we’ll take what we can get. In this violent modern Western, Arnold plays Sheriff Ray Owens, guardian of Sommerton Junction, a hamlet on the Arizona border that’s just a corn field away from Mexico. (Casting a bodybuilder with an impenetrable Austrian accent as a small-town American sheriff seems like a stretch until you remember that in real life, Californian voters cast one as their governor.) As in every Schwarzenegger flick, the residents of Sommerton never quite seem to notice that Sheriff Ray is big, strong and scary. The mayor treats him like he’s Paul Blart: Mall Cop and the waitress at the diner on Main Street pesters him at 4 am to ask why the milk man is late. But Ray takes these insults in stride: he’s old, and he doesn’t care who knows it. As did Sylvester Stallone ‘s Barney Ross in the first Expendables , he tempers expectations by being the first to declare — repeatedly — that his deltoids have seen better days, like he’s a King Lear who’s forced to kill. The world weariness plays better here, as unlike Stallone’s paid mercenary, Sheriff Ray, an ex-LAPD narcotics officer, just wants to keep the peace. When he sighs, “I’ve seen enough blood and death,” you believe him. The set-up of Andrew Knauer’s screenplay is classically simple: Three hundred and fifty miles away in Las Vegas, evil drug baron Gabriel Cortez (Eduardo Noriega of the Spanish twister Abre los Ojos ) has escaped FBI custody with the help of a giant magnet (seriously) and is zooming toward the Mexican border. Cortez has lined the freeways with hired goons who’ve out-thought the Feds’ panicked responses — the way he bursts through a police blockade in a speeding car is worth the price of admission — and now the only thing standing between North America’s most dangerous cartel boss and his freedom is 250 lbs of Austrian, er Arizonan , muscle who has just hours to prepare for a bloody showdown on his town’s literal Main Street. South Korean director Kim Jee-woon has toyed with wild west conventions before. His slapstick 2008 film The Good, The Bad and the Weird was like a Clint Eastwood movie with a pounding soju hangover. The first third of The Last Stand is a bit of a slog — Arnold still can’t act, but who cares? — and Kim doesn’t spring to life until people start dying. His favorite kill? The headshot. For a film that doesn’t star Tobin Bell, the screen is drenched in brain goo (too bad Stallone already squatted on the title Bullet to the Head ) and when the plot starts running out of craniums Kim summons a pick-up truck full of watermelons and takes aim. The Last Stand is an ill-timed love letter to weaponry. It’s so trigger-happy that a man gets shot in mid-air when he’s already falling to his death. There’s a gun so big that it’s simply referred to as “The Gun,” another that’s affectionately called a “little bitch,” and when a gun’s not in reach, there’s a flare gun handy. It makes sense that Kim might be pro-militia; unlike the current members of the NRA, Kim’s actually lived through a coup d’etat in his home country. Still, there’s something queasy about a film that celebrates local nut Johnny Knoxville’s illegal gun stash — and as someone who hopes Barack Obama ‘s gun control bill gets passed, I felt guilty cheering when a bonnet-wearing granny whips out her personal shotgun and gets in on the action. Besides Knoxville, who doesn’t get enough screen time to be annoying, Schwarzenegger teams up with fellow cops Luis Guzman and Jaimie Alexander (Lady Sif of Thor ), while Cortez’s crew is headed by a hilariously accented Peter Stormare, who sounds as convincing as a Southern trucker as Guzman would mimicking Queen Elizabeth. But Arnold’s real co-star in The Last Stand isn’t one of the humans hanging around in the margins. It’s Cortez’s escape car: a $120K Corvette with a fictionalized horsepower of 1000, 30 percent mightier than the fastest Lamborghini on the market. The Corvette’s curves are so seductive that you’d rather gawk at the dashboard than sexy hostage Genesis Rodriguez, who’s strapped into the passenger seat, and when it blitzes by a donut-eating cop (the flick traffics cheerfully in cliches), he mistakes it for a plane. Kim doesn’t just sit back and watch it roar — he gives the Corvette a true star moment with an inventive car chase set in a disorienting corn field. Fast and the Furious 6 (or as I prefer, Fa6t 6ix ): your move. A machine himself, Schwarzenegger is using The Last Stand to scrape the rust off his reputation. It’s a smart choice: it’s just bold enough, brutal enough, and dumb enough to feel like a return to form. In 2002, the year before Arnold took office, Jason Bourne kick-started ten years of soul-searching, shaky cam hijinks that annoyed action fans who like to appreciate blood squibs and stunts. But in The Expendables 2 , Jack Reacher , and now this, we’re seeing a cinematic return to men who crack quips, fight with their fists, and swagger around without having to carry the weight on the world on their over-developed shoulders. Is it a coincidence that classic action is making its comeback at the same time Schwarzenegger is making his own? Hey, he warned us he’d be back. Amy Nicholson is a critic, playwright and editor. Her interests include hot dogs, standard poodles, Bruce Willis, and comedies about the utter futility of existence. Follow her on Twitter . Follow Amy Nicholson on Twitter . Follow Movieline on Twitter .

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REVIEW: Arnold Schwarzenegger Is Back In Dumb, Fun ‘Last Stand’

Behold, The Adorbs ‘Food-imals’ Of ‘Cloudy With A Chance Of Meatballs 2’

Bananostriches! Fruit cockatiels! The sentient foodstuffs that populate the animated sequel Cloudy With A Chance of Meatballs 2: Revenge of the Leftovers are just delectable… especially if you haven’t eaten lunch yet. It’s hard to believe it’s taken Hollywood this long to borrow these kinds of meme-tastic confections from the internetz. Watermelophants! Wild scallions ! Take a peek at the foodie creatures from the September sequel after the jump. Directors Cody Cameron and Kris Pearn take the reins from 21 Jump Street co-helmers Phil Lord and Chris Miller, who made a delightful flick about a would-be scientist who figures out how to make it rain giant foodstuffs, based on the popular children’s book of the same name. Cloudy 2 returns voice cast members Bill Hader, Anna Faris, Andy Samberg, and Neil Patrick Harris (who turned in compelling work as Steve the lab monkey); Will Forte, who voiced “Joe Towne” in the first film, brings Flint Lockwood’s idol Chester V to life. The film hits theaters on September 27. Below, check out first look peeks from USA Today (via Collider ): [via USA Today ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Behold, The Adorbs ‘Food-imals’ Of ‘Cloudy With A Chance Of Meatballs 2’

WATCH: Nicole Kidman Is Mommie Not-So-Dearest In New ‘Stoker’ Clip

Park Chan-wook is one of a few successful Korean filmmakers attempting an English-language foray into Hollywood this year (also see: Kim Jee-woon ‘s Arnold Schwarzenegger vehicle The Last Stand ) and his moody March thriller Stoker continues to tease with a new clip ahead of its Sundance debut this weekend. Take a peek at just under two minutes of Nicole Kidman absolutely owning the screen with a riveting, sinister mother-daughter chat opposite Mia Wasikowska . Synopsis: After India’s (Wasikowska’s) father dies in an auto accident, her Uncle Charlie (Goode), who she never knew existed, comes to live with her and her emotionally unstable mother Evelyn (Kidman). Soon after his arrival, she comes to suspect this mysterious, charming man has ulterior motives, but instead of feeling outrage or horror, this friendless girl becomes increasingly infatuated with him. Stoker also stars Matthew Goode, Dermot Mulroney, and Jacki Weaver and opens on March 1, 2013. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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WATCH: Nicole Kidman Is Mommie Not-So-Dearest In New ‘Stoker’ Clip

Mother Pus Bucket! Michael Cera’s Not Sure He’d Take A ‘Ghostbusters 3’ Gig

Who you gonna call to cast Ghostbusters 3 — if it ever gets made, that is?  Don’t count on Michael Cera . I got a brief moment to talk to the actor at the Sundance Film Festival on Thursday where his latest movie, Sebastián Silva’s  Crystal Fairy  helped kick off the festival, and I took the opportunity to ask him if he’d been approached at all about the much-discussed Ghostbusters 3 film that co-creators Dan Aykroyd and Harold Ramis want to start shooting this year  . “I haven’t been approached,” said Cera, who expressed some doubt that the picture was happening. When I then asked if he would be interested in appearing in Ghostbusters 3 if the stars — and a good script — aligned, he replied: “That would be a tough one. The first movie meant so much to me. It could be dangerous.” Smart kid. Cera loves the original Ghostbusters so much that he doesn’t want to appear in anything that’s not going to honor it. And yet, I was surprised by the answer. Aykroyd and Ramis have both said that the plot of Ghostbusters 3 will involve the original crew handing off their Proton packs to a new generation, and Cera’s well-known GB love and his deadpan style make him an ideal candidate. In a poll Movieline conducted last fall, Cera was readers number-two choice, behind Seth Rogen , to be part of the new Ghostbusters team. I didn’t get much of a chance to talk to the actor because he was swarmed by Sundancers congratulating him for his performance in the completely improvised  Crystal Fairy. Cera plays an obnoxiously self-absorbed American who undergoes an emotional transformation when he invites a free-spirited but damaged woman who calls herself Crystal Fairy (Gaby Hoffmann)  to accompany him and his Chilean friends on a road trip to do Mescaline. Both Cera and Hoffmann ( You Can Count on Me ) give intense, layered and remarkably ego-free performances in this dark comedy that comes with a real emotional punch at the end. (Silva has two movies with Cera in them at the festival. The other is Magic Magic  with Juno Temple.)   Hoffmann’s being doing exceptional work for years, but her portrayal of the New Agey Crystal Fairy should put her in line for some real marquee roles based on effusive audience reaction Thursday night.  Twice during the film, she gets completely and unabashedly naked, which inspired one woman in the audience to yell out “Free style!” in reference to the actress’s unruly, character-appropriate pubic hair. After the screening, Silva said that his scriptless movie, which was shot in 12 days, is about “the birth of compassion in someone’s life” and is based on an actual encounter he years ago with a woman who actually called herself Crystal Fairy.  “I hope she finds out,” said Silva, who’d like to get back in touch with his muse. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter. 

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Mother Pus Bucket! Michael Cera’s Not Sure He’d Take A ‘Ghostbusters 3’ Gig

‘Austenland’ Director’s Note: Jerusha Hess On Her ‘Girlishly Indulgent’ Sundance Rom-Com

Nine years after Napoleon Dynamite made Sundance darlings out of its makers, screenwriter Jerusha Hess is set to make her directorial debut with the femme-centric comedy Austenland , adapted from Shannon Hale’s best-seller about a Jane Austen obsessee on holiday at a resort where the Regency authoress is venerated like a goddess. Austenland stars Keri Russell, JJ Feild, Jennifer Coolidge, Jane Seymour, and Bret McKenzie, but there’s even more star power behind the scenes in the form of producer Stephenie Meyer ( The Twilight Saga ). Meyer, who served as producer on the final films in the Twilight franchise, Breaking Dawn Parts 1 & 2 , as well as the adaptation of her novel The Host , co-created her Fickle Fish Films shingle to create literary-themed projects, beginning with Austenland . Ahead of Austenland ‘s Sundance premiere this Friday, Hess released a director’s note emphasizing her focus on a female audience after scripting the goofy male comedies Napoleon Dynamite , Nacho Libre , and Gentlemen Broncos — “[our] most testicular film to date”: I remember thinking after my husband and I finished Gentlemen Broncos , our weirdest and most testicular film to date, that I really needed to start making movies for girls. Cut to a dinner meeting with author Shannon Hale. She was smart and funny and handed me a book she had recently published, Austenland . I read it in an evening and we started writing the screenplay within the month. The book was so fresh and read like a film; it was a joy to adapt it for the screen and write it with Shannon. Since the romantic element in the book was always strong, my goal was to make the film as quirky and light as possible. The result is a ridiculous romp in Regency culture – commenting not only on the historical time but also on the Jane Austen film genre itself. Although the film gently pokes at the Austen “afficianado” it never intends to alienate the fans, rather to celebrate the fun and funny of it all. Austenland was as girlishly indulgent to make as I hope it is for you to watch. Enjoy. Synopsis: Austenland is a romantic comedy about 30-something, single Jane Hayes (Keri Russell), a seemingly normal young woman with a secret: her obsession with all things Jane Austen. But when she decides to spend her life savings on a trip to an English resort catering to Austen – crazed women, Jane’s fantasties of meeting the perfect Regency-era gentleman suddenly become more real than she ever could have imagined. Based on the novel by Shannon Hale (who also co-wrote the script), the film was written and directed by Jerusha Hess (writer, Napoleon Dynamite ) and produced by Stephenie Meyer’s Fickle Fish Films. The film features an all-star cast including Bret McKenzie, Georgia King, Jane Seymour, JJ Field and Jennifer Coolidge. Follow Movieline’s Sundance 2013 coverage here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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‘Austenland’ Director’s Note: Jerusha Hess On Her ‘Girlishly Indulgent’ Sundance Rom-Com

WATCH: Michael Shannon Chills & Kills In ‘The Iceman’ Trailer

With all the fancy ‘staches and old-school automobiles, this second trailer for Ariel Vroman’s The Iceman reminds me of The Beastie Boys ‘ “Sabotage” video, with a lot of cold-blooded killing substituted for 1970s TV crime drama parody.   Grim-faced Michael Shannon plays Richard Kuklinski, the real-life contract killer who offed more than 1964 and 1986, Winona Ryder plays his wife and  Chris Evans — whose hair alone makes this trailer worth watching — is one of his partners in crime. Ray Liotta also does his usually masterful job of scaring the crap out of me, and James Franco , whose RabbitBandini Productions is credited as executive producer of the film, can be seen cowering near the end of the clip. For reference, here’s “Sabotage.” Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.

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WATCH: Michael Shannon Chills & Kills In ‘The Iceman’ Trailer