Tag Archives: New Movie

Trailer: Tiny Furniture + Sex and the City = Lena Dunham’s GIRLS, Kinda

It’s awfully simplistic to say so but with Lena Dunham ‘s forthcoming HBO dramedy series GIRLS , which marks the latest milestone in her rapidly ascending career, the comparisons draw themselves — comparisons to Dunham’s own prior work and to all that’s come before in attempting to mine the modern single female experience for insights and laughs in film and television. But whether you’re a fan or a Dunham skeptic, it’s worth taking a look at the show’s first trailer to see for yourself what to expect from the developing filmmaker, especially with folks like Judd Apatow shepherding her post- Tiny Furniture . Dunham’s career-starting indie pic Tiny Furniture (her sophomore feature) earned equal shares of praise and criticism upon release in 2010, but it unquestionably put her brand of wry, neurotic comedy on the radar and demonstrated Dunham’s willingness to expose herself, warts and all, as a writer and performer. GIRLS , also set in New York and concerned with young women on the brink of figuring out their lives, very much expands on the Dunham brand but shows a marked maturity; Dunham stars in front of the camera in addition to writing and directing, and she’s joined by three strong supporting actresses (Allison Williams, Jemima Kirke, Zosia Mamet) who flesh out the series’ circle of twentysomething friends. The similarities to Sex and the City can be found, but they’re also deliberate; characters fully acknowledge that they’re of a generation weaned on SATC ‘s fantasy, just one of the many pop references they cite as somewhat (painfully) self-aware New York transplants. Truth be told, I was sold after previewing the first three episodes, especially given where GIRLS falls in the vast range of female-slanted shows on the air of late; it debuts on HBO this April and bridges the gap between the current class of girl-oriented network fare and the more daring stuff found on cable these days, but also captures a range of interests and talent so innately of this generation. For example: The trailer below teases appearances by Chris Eigeman ( Metropolitan ) and Peter Scolari ( Bosom Buddies )! What’s more, an upcoming episode features a particularly juicy turn by Lonely Island’s Jorma Taccone that I’ve been thinking about repeatedly since. This is TV (HBO’s scheduled a 10-episode season to run) but more important than this or that format is the idea that Dunham’s developing her voice as a storyteller in line with what we’ve seen previously. She’s seemingly been given a considerable amount of rope to keep doing her thing (Apatow’s involvement as a producer likely has something to do with that) and it should be interesting to watch as she keeps one foot in television and one in film. GIRLS debuts at SXSW next month and premieres April 15th on HBO.

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Trailer: Tiny Furniture + Sex and the City = Lena Dunham’s GIRLS, Kinda

Think Like A Man Red Carpet Premiere: Terrence J, Romany Malco, And Jerry Romany Talk Crack Head Sex? [Video]

SMH @ Romany… The Black Guy From Weeds. (Love That Show!)

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Think Like A Man Red Carpet Premiere: Terrence J, Romany Malco, And Jerry Romany Talk Crack Head Sex? [Video]

Steven Spielberg spotted at Tavern

http://www.youtube.com/v/hy2zMcvq_Ns?version=3&f=user_uploads&app=youtube_gdata

Steven Spielberg was spotted leaving Tavern restaurant in West Hollywood. The legendary filmmaker was in a rush to leave! Maybe, he got inspired for a new movie idea while at the restaurant?!?!?!? “Like” us on Facebook @ facebook.com

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Steven Spielberg spotted at Tavern

Caesar Must Die Leads Berlinale Winners

Congrats to the Taviani Bros. ( who? ), the inveterate sibling filmmakers whose Shakespeare-in-prison semi-doc Caesar Must Die has claimed the top prize at this year’s Berlinale. Stephanie Zacharek has more about the Golden Bear winner in her review from Berlin — along with more about Barbara , whose own helmer, Christian Petzold, won the festival’s Best Director award. ( Tabu and Sister nabbed hardware as well.) As Stephanie predicted, Caesar Must Die secured U.S. distribution in this week in Berlin and will be Stateside later this year; stay tuned to Movieline for details about how and when you can see it, and read on for the complete list of winners. Congrats to all! GOLDEN BEAR FOR THE BEST FILM Cesare deve morire (Caesar Must Die) by Paolo & Vittorio Taviani JURY GRAND PRIX-SILVER BEAR Csak a szél (Just The Wind) by Bence Fliegauf SILVER BEAR FOR BEST DIRECTOR Christian Petzold for Barbara (Barbara) SILVER BEAR FOR BEST ACTRESS Rachel Mwanza in Rebelle (War Witch) by Kim Nguyen SILVER BEAR FOR BEST ACTOR Mikkel Boe Følsgaard in En Kongelig Affære (A Royal Affair) by Nikolaj Arcel SILVER BEAR FOR AN OUTSTANDING ARTISTIC CONTRIBUTION Lutz Reitemeier for the photography in Bai lu yuan (White Deer Plain) by Wang Quan’an SILVER BEAR FOR THE BEST SCRIPT Nikolaj Arcel, Rasmus Heisterberg for En Kongelig Affære (A Royal Affair) by Nikolaj Arcel ALFRED BAUER PRIZE, awarded in memory of the Festival founder, for a work of particular innovation: Tabu by Miguel Gomes SPECIAL PRIZE-SILVER BEAR L’enfant d’en haut (Sister) by Ursula Meier BEST FIRST FEATURE AWARD, endowed with 50,000 Euros, funded by GWFF Kauwboy Kauwboy by Boudewijn Koole (Generation Kplus) SPECIAL MENTION Tepenin Ardı Beyond the Hill by Emin Alper (Forum) PRIZES OF THE INTERNATIONAL SHORT FILM JURY GOLDEN BEAR Rafa by João Salaviza THE JURY PRIZE – SILVER BEAR Gurehto Rabitto The Great Rabbit by Atsushi Wada SPECIAL MENTION Licuri Surf Licuri Surf by Guile Martins EFA SHORT FILM NOMINEE BERLIN Vilaine Fille Mauvais Garçon Two Ships by Justine Triet DAAD SHORT FILM PRIZE: The Man that Got Away The Man that Got Away by Trevor Anderson PRIZES OF THE JURIES GENERATION Children’s Jury Generation Kplus CRYSTAL BEAR FOR THE BEST FILM: Arcadia by Olivia Silver SPECIAL MENTION: Just Pretended To Hear by Kaori Imaizumi CRYSTAL BEAR FOR THE BEST SHORT FILM: Julian by Matthew Moore SPECIAL MENTION: BINO by Billie Pleffer Youth Jury Generation 14 plus, CRYSTAL BEAR FOR THE BEST FILM: Night of Silence by Reis Çelik SPECIAL MENTION Kronjuvelerna The Crown Jewels by Ella Lemhagen CRYSTAL BEAR FOR THE BEST SHORT FILM: Meathead Meathead by Sam Holst SPECIAL MENTION 663114 by Isamu Hirabayashi International Jury Generation Kplus THE GRAND PRIX OF THE DEUTSCHES KINDERHILFSWERK FOR THE BEST FILM: Kauwboy Kauwboy by Boudewijn Koole SPECIAL MENTION: GATTU by Rajan Khosa THE SPECIAL PRIZE OF THE DEUTSCHES KINDERHILFSWERK FOR THE BEST SHORT FILM: BINO by Billie Pleffer SPECIAL MENTION: L by Thais Fujinaga Competition Panorama Forum Cesare deve morire (Caesar Must Die), by Paolo & Vittorio Taviani Rebelle (War Witch), by Kim Nguyen Die Wand (The Wall), by Julian Roman Pölsler Parada (The Parade), by Srdjan Dragojevic La demora (The Delay), by Rodrigo Plá Tabu (Tabu), by Miguel Gomes L’âge atomique (Atomic Age), by Héléna Klotz Hemel (Hemel), by Sacha Polak PRIZE OF THE GUILD OF GERMAN ART HOUSE CINEMAS: À moi seule (Coming Home), by Frédéric Videau C.I.C.A.E. PRIZE: Death For Sale (Death for Sale), by Faouzi Bensaïdi Forum Kazoku no kuni (Our Homeland), by Yang Yonghi LABEL EUROPA CINEMAS: My Brother The Devil (My Brother The Devil), by Sally El Hosaini Special Mention: Dollhouse (Dollhouse), by Kirsten Sheridan TEDDY AWARDS Keep The Lights On (Keep The Lights On), by Ira Sachs Call Me Kuchu (Call Me Kuchu), by Malika Zouhali-Worrall, Katherine Fairfax Wright Loxoro (Loxoro), by Claudia Llosa Jaurés (Jaurés), by Vincent Dieutre INDEPENDENT JURIES PRIZES OF THE ECUMENICAL JURY MADE IN GERMANY – PERSPEKTIVE FELLOWSHIP, endowed with 15,000 Euros, funded by Glashütte Original Annekatrin Hendel for Disko (Disco) DIALOGUE EN PERSPECTIVE, funded by the German-French Youth Office This Ain’t California (This Ain’t California), by Marten Persiel CALIGARI FILM PRIZE Tepenin Ardı (Beyond the Hill), by Emin Alper Special Mentions Bagrut Lochamim (Soldier / Citizen), by Silvina Landsmann Escuela normal (Normal School), by Celina Murga Jaurès (Jaurès), by Vincent Dieutre NETPAC PRIZE Paziraie Sadeh (Modest Reception), by Mani Haghighi PEACE FILM AWARD Csak a szél (Just The Wind), by Bence Fliegauf AMNESTY INTERNATIONAL FILM PRIZE Csak a szél (Just The Wind), by Bence Fliegauf CINEMA FAIRBINDET PRIZE Call Me Kuchu (Call Me Kuchu), by Malika Zouhali-Worrall, Katherine Fairfax Wright READERS’ JURIES AND AUDIENCE AWARDS Panorama Audience Award PPP – fiction film: Parada (The Parade), by Srdjan Dragojevic Panorama Audience Award PPP – documentary film: Marina Abramovic The Artist is Present (Marina Abramovic The Artist is Present), by Matthew Akers BERLINER MORGENPOST READERS’ PRIZE Barbara (Barbara), by Christian Petzold TAGESSPIEGEL READERS’ PRIZE La demora (The Delay), by Rodrigo Plá SIEGESSÄULE READERS’ AWARD Parada (The Parade), by Srdjan Dragojevic Special Mention Call Me Kuchu (Call Me Kuchu), by Malika Zouhali-Worrall, Katherine Fairfax Wright PRIZE OF THE BERLINALE TALENT CAMPUS SCORE COMPETITION Christoph Fleischmann (Germany) BERLIN TODAY AWARD Rafael Balulu (Israel) for Batman At The Checkpoint (Batman At The Checkpoint) Special Mention David Lalé (United Kingdom) for White Lobster (White Lobster) [via Deadline ]

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Caesar Must Die Leads Berlinale Winners

Tyler Perry & Gabrielle Union Talk About “Good Deeds” [Video]

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Tyler Perry & Gabrielle Union Talk About “Good Deeds” [Video]

Star Wars Porn Parody Better-Reviewed Than Phantom Menace

I mean, obviously : “Now, anyone who’s ever been grossed out in hindsight by the big smooch Leia gives Luke in A New Hope (whose renaming here is way too hysterical for us to give away) be forewarned: The incestuous high-jinks go way, way further in this version. For one, in an effort to earn her freedom, Leia (Allie Haze) blows daddy-o Darth Vader (Lexington Steele—speaking of which, at what point exactly did Anakin turn bla … never mind). For two, Luke (Seth Gamble) joins Han in double-teaming Sis as celebration of blowing up the Death Star. And the effects! Yes, we’ve seen a lot of highly impressive effects in adult productions over the last several years, but this undeniably and unequivocally sets a new bar. The lightsabers, the battle ships, the droids, the Death Star … if you didn’t know any better, you’d think someone from Lucasfilm actually had a hand in crafting this.” [ AVN , link NSFW]

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Star Wars Porn Parody Better-Reviewed Than Phantom Menace

So Much for Your Billy Bob/Angelina Relationship Parable

Ahem! Billy Bob Thornton wants to clear something up: “I would never make a movie about my best friend, either, or any other ex of mine, or something. That’s not my bag. I don’t mind exposing myself, but I’m certainly not gonna make a movie about someone else. If she came to me, or any of my friends came to me, and said, ‘I would like for you to write a film about these experiences I’ve had,’ then I would consider that. But no — we don’t even know how that happened.” Alas. [ Vulture ]

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So Much for Your Billy Bob/Angelina Relationship Parable

Who Knew? Something Called Dorothy and the Witches of Oz is Apparently Opening Friday

Can’t wait for Sam Raimi’s star-studded, mega-budget Oz: The Great and Powerful ? How about a low-budget, modern-day twist on the L. Frank Baum classic featuring Dorothy as a children’s book author (and Kansas transplant, natch) in Manhattan and co-starring Lance Henriksen, Billy Boyd and Christopher Lloyd? Oh. Well anyway, here’s the latest on Dorothy and the Witches of Oz , the erstwhile little-seen mini-series that by all appearances this weekend should become a little-seen theatrical release. Writer-director Leigh Scott’s film reportedly has one of the more roundabout broadcast/distribution records of any recent movie (save for Margaret , perhaps), but will finally come to theaters Friday. By “theaters,” I mean ” four venues in Arizona ,” with three more to follow Feb. 24 in Kansas and Kentucky. The film itself, meanwhile, appears pretty deeply NYC-centric — because no one’s ever imposed that twist on the Oz legend before: It does kind of look better than This Means War , right? And in “glorious 2D”! Well-played, team. Arizona, you are in luck! [via Big Hollywood ]

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Who Knew? Something Called Dorothy and the Witches of Oz is Apparently Opening Friday

Bullhead or Bust: How Drafthouse Films Went From From 0 to Oscar in 2 Years Flat

New to the distribution arena, Alamo Drafthouse co-founder Tim League became enamored of a small Belgian crime drama called Bullhead at the 2011 Cannes Film Festival. Less than a year later, he and his Drafthouse Films operation have an Oscar contender on their hands. Not too shabby for a company younger than the Obama administration. Bullhead , from first-time feature director Michaël R. Roskam, centers on a contemptuous, troubled cattle farmer who is dragged into Belgium’s bovine hormone mafia underworld. Lead actor Matthias Schoenaerts (pictured above) packed on 60 pounds of muscle for the complex, acclaimed role. The film made such an impression at Cannes that League lobbied “fiercely” to include it in the lineup for his venue’s annual Fantastic Fest, despite its wide perception among viewers and industry alike as a sci-fi/horror/Asian genre showcase. “We had to really convince them to show it at the festival,” League told Movieline in a recent interview. “And it was after the festival and the great response that it had from our audience that we decided we wanted to make an offer on it for the label.” “The label,” of course, is Drafthouse Films, a venture that grew out of the festival, which itself had been an evolution from programming the Alamo Drafthouse Cinema — the Austin-based theater chain that League co-founded with his wife, Karrie, in 1997. The impresario saw distribution as a natural next step, commencing in 2010 with director Chris Morris’s suicide-bomber satire Four Lions . “We realized that a lot of these films really didn’t have an opportunity to find a great home for U.S. distribution,” League said. “So we thought we were building an audience with the festival and we might as well build a label to walk alongside it with the same sensibilities.” (Incidentally, Four Lions had closed Austin’s flagship film fest, South by Southwest, six months earlier.) For its second release, the distributor gave Bullhead a U.S. home and entered the Foreign-Language Oscar race in one fell swoop. “We really loved Bullhead , and there was just a strange set of circumstances that fell into place where we expressed our interest, and before we had the contract done it was Belgium’s official entry to the Academy Awards, which kick-started the process,” League said. “But even still, we knew we were a long shot. It’s been wild to see it fall into place.” The Drafthouse team was at Sundance last month when the good news came through. “We were watching the announcement live on television,” League said. “And we got the nomination, and we celebrated and had a glass of champagne, then everybody just hunkered down at their computers for about five hours and set a lot of wheels in motion. We had to put the trailer together, the poster together, the ad campaign. We had to hire a bunch of folks to help us out with the process.” Those hires were made from preparations the team had already done for the film’s distribution, but the nomination sped up the process. Drafthouse Films plans to release six films a year theatrically and on VOD, but it isn’t following a set model each time. It has three films planned for this year so far: Bullhead , the subversive comedy Clown and SXSW favorite The FP . Meanwhile, League admits Bullhead is an underdog at the Oscars — particularly against A Separation , the Golden Globe-winning Iranian film that’s also up for best screenplay. Nevertheless, he says, it’s a category that has seen upsets and surprises. The Drafthouse team will be in Los Angeles to support the film on Feb. 26, throwing a Bullhead party on Oscar night. “Win or lose, we’re super happy to be a part of it,” League said. Bullhead will be released in New York, Los Angeles and Austin on Feb. 17, with further expansion to come ahead of the Oscars.

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Bullhead or Bust: How Drafthouse Films Went From From 0 to Oscar in 2 Years Flat

Berlinale Dispatch: What’s Black & White, Nearly Silent, and Dreamy All Over? (Hint: Not What You Think)

Portuguese director Miguel Gomes’s inventive, playful black-and-white Tabu — part drama, part romance, part malaria-induced fever dream — has turned out to be a favorite among critics at the Berlinale this week, alongside Christian Petzold’s Barbara , and it’s not hard to see why. Tabu was one of the few movies here to be heralded by a ripple of excitement — it seemed to be the one competition film everyone was curious to see. In the movie’s first section — despite an intriguing reference to a “sad and melancholic crocodile” — I feared the buzz would amount to nothing. And what if this crocodile never actually appeared? I wasn’t leaving without my crocodile, I decided, and luckily, I wasn’t disappointed. Gomes — who previously directed The Portuguese Nun and Our Beloved Month of August — used to be a film critic, and you know how those people are: They love their movie references, and Gomes uses plenty. (The film’s title itself is a nod to F.W. Murnau’s movie of the same name.) But he manages to avoid coming off as either a show-off or know-it-all, particularly in the movie’s second section. The first chapter deals with a mysterious elderly Portuguese woman named Aurora (Laura Soveral), whose mind appears to be disintegrating and who is convinced her housekeeper (Isabel Cardoso) is working black magic on her. She begs her neighbor, Pilar (Teresa Madruga), for help. It’s only after Aurora dies, and Pilar seeks out the man who used to be her lover, that the movie truly springs to life: The opening section is clearly intended to be an extended prologue, a means of whetting our appetite for what’s to come. In part two, we meet the young Aurora (played by Ana Moreira), a big-game hunter who, like good old Isak Dinesen before her, has a farm in Africa. Aurora is beautiful, headstrong, possibly emotionally unstable. She’s also a crackerjack markswoman who always gets her prey, sacking big game right and left. That includes menfolk: She’s married to a staid, successful businessman who doesn’t give her the attention she needs. It’s no surprise when she falls into the arms of Ventura (Carloto Cotta), a John Gilbert lookalike who plays in a local band — it specializes in hyper-romantic Phil Spector covers — and who also has some romantic complications of his own, in the form of a lover named Mario (Manuel Mesquita). The second half of Tabu is mostly silent. There’s sound, in the form of birds or crickets or rustling leaves, but all the dialogue of the story remains unheard and implied: The actors move their lips, but no words come out, and the effect is surprisingly intimate, like being keyed in to a secret language between lovers. We know what’s happening, and what’s going on in the characters’ heads, thanks to a voiceover narration provided by the old-man version of Ventura (Henrique Espirito Santo), as he reflects on his obsessive and marvelously melodramatic relationship with the young Aurora. Did I mention that by the time she and Ventura get together, she’s already pregnant with her husband’s child? Gomes piles one complication on top of another, but the effect is poetic rather than jumbled. I’ve been hearing people comparing Tabu to The Artist , couching it as a more art-housey version of that picture. There are similarities, but each film exists in its own distinct and imaginatively realized world. Gomes’s is dreamier, more impressionistic — at times, in the first section, the conversations between the characters spin out in oblique, off-kilter loops, as if they’d been invented by a less-flamboyant, less-kooky Almodovar. Gomes’s style here is winsome and affectionate; at times, it’s a little too arch and self-aware. But the picture’s satiny imagery, rendered in black, white and every glorious gradation in between, is so lovely that that hardly matters. The two lovers, Aurora and Ventura, lounge by a reflecting pool, glasses of lemonade on a tray between them, as that aforementioned crocodile — at this point, a mere babe — skims through the water like a silent witness to all that’s passing between them. Now we know why he’s sad and melancholic: He’s the croc who knew too much. But at least he’s been lucky enough to swim through this romantic dream of a movie. Read more of Movieline’s Berlinale 2012 coverage here . Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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Berlinale Dispatch: What’s Black & White, Nearly Silent, and Dreamy All Over? (Hint: Not What You Think)