Posted on Monday, April 23rd, 2012 by Angie Han
Sometime around 2007, Juno BFFs Ellen Page and Olivia Thirlby signed themselves up to reunite as teenage lesbian werewolves on Bradley Rust Gray‘s Jack & Diane. Funding fell through, however, and after years of delays, both actresses quietly dropped out of the project. Page was then replaced by Alison Pill, who in turn was replaced by Juno Temple, while Thirlby’s part was recast with Riley Keough.
This year, Gray’s completed Jack & Diane finally made its debut at the Tribeca Film Festival. And while much about the film is tough to understand, what’s clear is that Page and Thirlby have dodged a bullet by leaving the project early on.
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Which film festival will be closed by The Avengers? What previously rumored actor has now been confirmed to appear in The Dark Knight Rises? Want to see a brand new international poster for The Avengers? How did Marc Webb go about reimagining the origin in The Amazing Spider-Man? Has a runtime for The Dark Knight Rises been revealed? What would the Teenage Mutant Ninja Turtles look like if they weren’t teenage or mutants? Read about all of this and more in today’s Superhero Bits. Read More »
Yep, that’s an image of a slacker Val Kilmer on a BMX bike. In a new short from Harmony Korine, Kilmer plays a motivational speaker named Val Kilmer, and we see him do his thing at a roller rink. The short is part of an omnibus feature called The Fourth Dimension that will play soon at the Tribeca Film Festival. As you might guess just based on that image and the short description I just provided, this looks like signature Korine craziness. Check out a trailer below. Read More »
Peter Mullan is a great character actor and a very serious director. His previous two films, The Magdalene Sisters and Orphans, were both pretty intense dramas, but definitely worth a look. He hasn’t made a film since 2002, but now returns with NEDS (short for Non Educated Delinquents), which charts the life of John McGill, a boy on the cusp of manhood trying to make his way through a tough life in ’70s Glasgow. Serious stuff once again, but possibly a companion piece of sorts to Shane Meadows’ great This is England. Check out the trailer after the break. Read More »
If you were famous, should you use that fame to get involved in public causes, and if so, how would you go about it? Nothing can change the public attitude towards a celebrity faster than seeing someone go overboard promoting a cause — I don’t think my dad will ever watch a Sean Penn movie again, for example, just because of the actor’s activism.
Naturally, this is a fitting topic for a comedy. Universal is making a deal to pick up a pitch from King of the Hill and The Tracy Morgan Show writers Alex Gregory and Peter Huyck (who also just wrote and directed A Good Old Fashioned Orgy) about celebs with causes. Judd Apatow is set to produce. Read More »
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The ESPN documentary series, 30 for 30, continues a phenomenal and original run at uniting fans of sports history and cinema with Straight Outta L.A. Directed and narrated by Ice Cube, in O.G. gruff mode, the doc examines the stylistic endorsement of the Los Angeles Raiders in the mid-to-late ’80s by West Coast gangsta rap pioneers N.W.A., and proposes that Cube’s group cultivated everlasting, if unsolicited, street cred for the franchise as a multi-billion dollar brand. At this point in Ice Cube’s movie and music career, I was skeptical going in. Would his contribution to 30 for 30 play like self-serving promotion for N.W.A.’s back catalogue and the NFL’s fat merchandising arm? There’s a little hustle on hand, sure, but overall I enjoyed this well-organized, brisk look at the fashionable assimilation of a corporate/athletic identity by young black artists…with attitude.
For any guy who owned/stole a “Real Men Wear Black” t-shirt, more than one Starter jacket, or Dr. Dre‘s The Chronic in the early ’90s, Straight Outta L.A.‘s subject matter is enticing and nearly irresistible. This mix of enthusiasm and nostalgia is sensed in several of the interviewees enlisted from the world of old school hip hop (Ice-T, MC Ren) and Raiders’ record books (Howie Long, Marcus Allen). And Ice Cube goes the extra step by speaking with journalists, city employees, and figure-loving merchandising guys from the era. The biggest catch is his interview with aging “maverick” Raiders owner, Al Davis, regarding the team’s legacy and its controversial move from Oakland to L.A. and back again. (Note: Darth Vader after the jump.)
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Australian composer (Alex Proyas’ Garage Days) and short film filmmaker Andrew Lancaster makes his feature directorial debut with Accidents Happen, an indie dramedy that premiered at the 2009 Tribeca Film Festival.
There are dysfunctional families… and then there are the Conways. After a family tragedy, 15-year-old Billy Conway (Harrison Gilbertson) has become the de facto glue between his bitter mom (Geena Davis), distant brother (Harry Cook), and stoic dad (Joel Tobeck). But when Billy starts to act out, everything changes for him and his family.
Based loosely on Brian Carbee’s autobiographical book and one-man theater production, the film is set in 1980’s New England, but was shot in Sydney. The film was named by New York Post as one of the five films to look out for at Tribeca, and the Examiner called it “a promising feature debut (by director Andrew Lancaster and writer Brian Carbee) that isn’t shy in its examination of a nasty-yet-funny family dynamic.” Check out the teaser trailer after the jump.
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In this special bonus episode of the /Filmcast, David Chen speaks with Katey Rich from Cinemablend, Matt Singer from IFC News, and Russ Fischer from CHUD about the Tribeca film festival and Independent Film Festival Boston. The four of them discuss some of their favorite movies from the festival, their disappointments, and what the festival experience was like this year.
As always, if you have any feedback, feel free to e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993.
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I debated on if I should even write this story. I mean, how many readers out there even know who Geoffrey Gilmore is, or why he is important to the landscape of independent film? Followers on Twitter encouraged me to write the piece anyway, and try to explain the significance. Many people believe that Robert Redford is the guy who runs the Sundance Film Festival, and while that might technically be true, Geoffrey Gilmore is the director of the festival’s programing. He’s been with the festival for 19 years and prior to Sundance, he served as head of the UCLA Film and Television Archive’s Programming Department for 15 years.
Today it was announced that Gilmore would be leaving Sundance to join New York’s Tribeca Film Festival as Chief Creative Officer. It’s hard to explain the significance of this move without an understanding of how Sundance changed the landscape of independent film. And unfortunately, I don’t have the time to go into that fully. But if you can understand for a moment that Sundance is a festival that sets the tides for the independent film, and that Gilmore was the head tastemaker behind the organization, than you will only begin to understand how Gilmore has effected Independent film as a whole. In theory, a great film will be eventually discovered. But in reality, it doesn’t always happen that way.
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