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The following review contains spoilers and touches on topics and themes from the film, There Will Be Blood, which may prove unsettling for some readers. This review is long as hell because TWBB is long as hell, but it is also one of the best films ever made and the best film this decade.

The fact that Paul Thomas Anderson‘s American epic, There Will Be Blood, did not win an Oscar for Best Picture or Best Director says nothing about the film’s quality and inarguable stature as a masterpiece, but much about how we deal with an artist who swims out to the mark of greatness and madness, leaving the rest of us behind.

When an artist, rarely a director, does this it overwhelms and scares us. We practically expect the Jaws theme to begin its maniacal cue and watch the unknown devour him. Anderson, who previously directed the cool but slightly manipulative and hyperactive Boogie Nights and Magnolia, does nothing to alleviate our concern for the unhinged artist; his ever-focused stare dances more and more with an alarming expanse and he brandishes a smirk that sort of says “Oh really? Fuck off.” Luckily, from afar, these traits make him that much more interesting after viewing his first masterpiece.

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Will Ferrell‘s R-rated ABA romp, Semi-Pro, opens today and is expected to do boffo business. Buzz is good, but not spectacular. Nobody’s calling the film a comedy classic, and it arguably could have been. Great source material. The actor took a time-out from picking his ‘fro to chat with AICN twice about his upcoming mega-budget sci-fi comedy Land of the Lost, as well as eulogize a few other projects. Directed by Brad Siberling, who did Casper and Moonlight Mile, I’m still not sure what to expect from this 2009 film that pits Ferrell against CGI dinosaurs, especially when it comes to tone. Ferrell alludes to it being less like, I dunno, The Flintstones but doesn’t clarify much more…

“[Land of the Lost] will be PG-13, which I understand why that is and yet we still want [edge]. …It’s right up to an R and we are going to pull that line with the studio, because I already had an experience with Kicking and Screaming. Kicking and Screaming was supposed to be more of a Bad News Bears type comedy and they kind of [made it lame and made it PG].”

One film that I think Ferrell is perhaps born to star in (but apparently will not) is a film adaptation of A Confederacy of Dunces, widely cited as one of the best American novels ever written. While I’m of the belief that The Catcher in the Rye should never be put to film, after seeing Stranger Than Fiction, a dramedy that is still widely underrated, I remain convinced that Ferrell can do justice to Dunces‘ main character, the eccentric, 30-year-old ne’re-do-well Ignatius J. Reilly. A few years ago Ferrell was attached, along with Natasha Lyonne (a clever choice for the love interest Myrna Minkoff), with David Gordon Greene (The Pineapple Express, George Washington) to direct. Might it still happen…?

“As far as I know [an adaptation] is gone. …It’s a mystery. For some reason that’s a very scary project for people to take on and I don’t know why, but yeah I have no idea. The script…I loved it. …I think that’s such a big piece to tackle, that I think for a script, they didn’t have every single scene in the book, but it was a really nice effort, but I don’t know what to tell you.”

And from a literary classic to a beer pong/bong classic, wassup with Old School 2?

“I read [the script]. Some super funny set pieces, but I don’t know. I think Vince [Vaughn] had the same reaction. We’re just kind of doing the same thing again. It was like us going to Spring Break, but we’ve got to find this guy who’s the head of a fraternity. Once again, funny things but it’s just us once again back in a fraternity setting. It just felt like it was repeating. But watch, I’m over thinking it.”

And like a dingleberry stuck to a long and winding news item, Ferrell updates us about Elf 2: It’s dead.

Discuss: If you had to spend eternity watching and rewatching a Will Ferrell sports comedy that still hasn’t been made, would it be: The Untitled Will Ferrell Polo Movie or the Untitled Will Ferrell Sumo Wrestling Movie? I choose: UWF Polo.

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“Yeah, like, why do so many of Slash Film’s readers wanna collect my bones and stuff?”

Comparable to blurting out a hat trick of her favorite indie bands outside a Cat Power concert, Ellen Page (Juno :) just booked her third film in a month’s time, following Sam Raimi’s Drag Me to Hell and Drew Barrymore’s Whip It. She’ll star opposite the ever-androgynous Cillian Murphy (Breakfast on Pluto, Scarecrow) in Peacock, a high concept thriller in which Murphy will play a split-personality “who tricks a town into believing his alter egos are man and wife.” And, of course, Page will play a struggling young mother…who instigates a battle between Murphy’s bickering inner-couple.

The script was written by NKOTB Michael Landers and Ryan Roy, with Landers directing. In one of his parting shots today, Defamer editor Mark Lisanti called the script “brilliant.” Murphy seems to agree, saying, “Peacock stunned me as a script from start to finish.” Have any /Film readers seen the light? If so, let us know.

As for the peoples who want to burn every hamburger phone on eBay and march Diablo Cody into a flaming Wicker Pop Culture Reference, do you feel Ellen Page is forever typecast a la Macaulay Culkin? And if she starred in Lars and the Real Girl 2: Oscar Bound, would that make your tummy feel better?

Source Link: Variety / Slash Film Comments

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If Bijou Phillips could act, she’d be Marisa Tomei. When Julianne Moore does nudity, it’s like she’s making a fiery feminist statement with a dash of humor. When Tomei does it, like in the first minute(s) of Sidney Lumet’s sharp Before the Devil Knows Your Dead or in Slums of Beverly Hills, it’s like she’s bringing you some Colgate for your toothbrush and she adores you, sleepily. Does that make sense?

The Oscar winning actress has signed on for Darren Aronofsky‘s The Wrestler, and she’s set to play the female lead opposite a long haired, peaked Mickey Rourke. And, yeah, she’s playing a stripper with child. Rourke moves in with her and builds a relationship with the tyke. I have to see this movie, because the sleaze factor is flowing as freely as Willy Wonka’s chocolate river. I want accents too heavy for trash bags, loud ’80s fabrics and a sex scene set to Def Leppard’s “Pour Some Sugar On Me” (the song is in the flick).

Here’s Peter’s review of the script from a few months ago. Also, keep an eye on the film’s official site for updates and possible parts as an extra.

Wrestling Ring

I just got done reading a October 14th draft of Robert Siegel’s The Wrestler, which is being brought to the screen by Darren Aronofsky, the filmmaker behind Pi, Requiem For A Dream and The Fountain.

Before I go any further, let me first give you a little background: I use to be a hardcore professional wrestling fanatic. Before I created /Film, in an earlier life, I ran one of the first pro wrestling news sites on the internet, called WrestleNet.com. I mainly enjoyed the interesting behind the scenes politics. I was a junkie, I loved hearing about everything and anything that was behind the scenes.

It’s actually a very interesting world, far more interesting than the stuff you see in front of the camera. And I’ve always believed that this world would be the perfect place to tell a great story. But until now every movie that has been made around the wrestling has treated the sport, the people involved in it, and the fans that love it with much disrespect (go watch Ready to Rumble for a prime example). Barry Blaustein’s documentary Beyond The Mat is one of the only films to do it right. And off the top of my head, I can’t think or a fictional film that even does it half right. So that brings us to The Wrestler.

A fan asks Randy “The Ram” Robinson to sign an old 80′s era poster while reminiscing about seeing his first wrestling match, Robinson vs. Davey Diamond at the Spectrum. “You were awesome,” the fan tells Randy. WERE being the key word.

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