Posted on Tuesday, November 13th, 2012 by Angie Han
Paul Schrader and Bret Easton Ellis‘ The Canyons was never going for subtlety or elegance, and the marketing seems to be having some fun playing up that fact. The first trailer was cut to mimic grindhouse and exploitation movies of the ’70s, whereas the latest one has been done up like black-and-white ’50s pulp. No indication yet on what style the actual movie will take — presumably it’ll be something a bit more contemporary — but for now we can give them kudos for trying something a little different with the teasers.
What we might not be able to give them credit for, if these trailers are any indication, is making a good movie. All the cheeky wink-winks can’t cover up the fact that The Canyons looks genuinely terrible. Perhaps we should’ve expected that when Schrader and Ellis cast porn star James Deen and the notoriously troubled Lindsay Lohan as the leads. Watch the trailer after the jump.
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Has Paul Schrader created a film that might have played at a theater his defining character Travis Bickle might have visited in Taxi Driver? Schrader directs The Canyons, written by Bret Eason Ellis and starring Lindsay Lohan and porn star James Deen. The first real trailer for the film is cut in a style meant to mimic classic exploitation or grind house style. Trouble is, the music and editing might be the most appealing thing about this footage. Read More »
Posted on Tuesday, June 12th, 2012 by Angie Han
We’re still waiting to find out what comes of Bret Easton Ellis‘ campaign to adapt E.L. James’ Fifty Shades of Grey, but in the meantime another of his projects is coming together with some attention-grabbing casting. Lindsay Lohan has just joined porn star James Deen in The Canyons, a sexual thriller that Taxi Driver writer Paul Schrader is directing from Ellis’ script.
Between this and her role in Lifetime’s Liz & Dick, it appears that the former Mean Girls star really and truly is getting back to work. Provided she can stay out of jail, anyway. More about The Canyons after the jump.
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Posted on Wednesday, March 7th, 2012 by Angie Han
As the Paul Schrader-directed, Bret Easton Ellis-penned “L.A. noir micro budget” film approaches its summer start date, fresh details have been revealed about the story, cast of characters, and release plan. Titled The Canyons, the “psycho-sexual thriller” will center around a circle of young and glamorous but deeply messed-up Angelenos. In other words, exactly what you’d expect from a noir film written by Ellis. More info after the jump.
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Posted on Monday, January 23rd, 2012 by Angie Han
Normally, if a Hollywood screenwriter named a porn star as his top choice to lead a mainstream film, it would come as a bit of a surprise, but when the scribe in question is Bret Easton Ellis, it just makes so much sense. The controversial writer has tweeted that he’s currently working on a “L.A. noir microbudget” movie for director Paul Schrader, and that he hopes adult film sensation James Deen will topline the cast. More details after the jump.
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Bret Easton Ellis (Less Than Zero, American Psycho) has been working on two new scripts in the past couple years. One is the very tantalizing The Golden Suicides, which chronicles the fall of art-world power couple Jeremy Blake and Theresa Duncan, who trapped themselves in a bubble of paranoia that burst only with their double suicide.
The other is Bait, a movie about a kid who feeds a bunch of rich people to sharks. Guess which one is getting made first, and with Taxi Driver writer Paul Schrader at the tiller? Read More »
Despite the fact that there are more films available for home viewing than ever before, there is a significant crop of films that never hit DVD. One of the most serious omissions on the format has been Rolling Thunder. The 1977 film casts William Devane as a Vietnam vet who is out for revenge against a crew of seriously bad guys, enlisting Tommy Lee Jones in the process. It is an understated and magnificent film, and for too long has been difficult to see. It got a bit of exposure in the ’90s when Quentin Tarantino borrowed the title to name his distribution company, but has since fallen back into movie geek obscurity.
Luckily, if you live in Atlanta you can see a projected print on Friday, November 5 at the Plaza Theater. For everyone else, be happy that the film is streaming online and will finally hit DVD (hooray!), albeit not quite in the way you probably want. Details are after the break. Read More »
This might be the first Harrison Ford news that has piqued my interest in quite a while. In a recent interview, Ford says that he’s developing a film with Nicolas Winding Refn, director of Bronson, Valhalla Rising and the Pusher films. The director has a few different films on his slate, but of all of them The Dying of the Light, scripted by Paul Schrader, seems like it’s the one that Ford would be referring to. Reasons for that speculation, after the jump. Read More »
In the next few weeks, quite a few bloggers will debate whether Liam Neeson gives Jason Bourne and James Bond a sharp chop to the throat in the fluid, under-the-radar actioner Taken. Today, FirstShowing.net swept away its weekly confetti and threw a fresh parade for the film in hopes of getting 20th Century Fox’s attention. Fox, that ever-maligned of studios, is essentially “dumping” Taken—which has been released everywhere except for America—in late January. So, what’s the verdict? I’m not sure if Neeson’s vigilant “preventer” could murder someone with, oh, a whisk, but the “real world” he inhabits would definitely make the PG-13 Bourne sob inside his 1,000th borrowed Audi.
Taken attempts to expose modern international sex rings like Paul Schrader’s memorable Hardcore did with the darker side of California’s porn economy in ’79. Like with Hardcore, the audience gradually discovers a lawless, albeit much grander, subculture of greed, sex and death through the eyes of an accomplished actor most audiences see as morally upstanding (Neeson here, George C. Scott there). But Taken‘s (accurate?) adrenaline-charged presentation of highest-bidder sin is even more effective IMO. Neeson’s character, an ex-American spy named Bryan Mills, is on such a lean, linear and kick-ass mission of shoot/stab/kill, that viewers are required to contemplate the potential for female enslavement in the world market at breakneck speed. Moreover, Mills’s implied covert past leads you to believe that he’s all-too-aware that this flush criminal labyrinth exists as he rushes through it: unsettling, and yet awesome.
The storyline itself is unremarkable: After years spent “serving his country” in secret, Mills retires back to the U.S. to span time with his estranged teenage daughter. As played by Maggie Grace (Lost), this all-American teen is even more clueless and innocent than Juliette Lewis’s in Cape Fear. When Mills reluctantly allows his daughter to leave the States for a “normal” tour of Paris with a rich girlfriend, she’s promptly kidnapped (this happenstance is admittedly Eli Rothian). Naturally, Mills must cross the Atlantic to find her, cell phone clock ticking, and he chooses not to contact the usual authorities and embassies (implied as totally worthless and possibly complicit). Once he touches down in France, Mills’s pursuit and pursuers never let up.
French director, Pierre Morel (the parkour showcase District B-13), and writer/producer, Luc Besson, seem set on making the United States look like a delusional safe haven. There’s plenty of ironic jingoistic humor in the movie, accented with un-subtle baguette placement, totes depraved dapper sheiks, and even a stars-and-bars virginal “pop diva.”
What Taken executes quite well is an exposition-free drop into a fast-paced world where diplomatic power, secrets, hush money and human traffic roam realistically unchecked. In the film, the black market has become more interconnected, profitable and thus bolder than ever, resulting in a winding, diverse body count and numerous inventive kills. Unlike the similar films of Bourne and Daniel Craig’s “realistic” Bond, there is no set villain or organizations. Neeson’s character is simply resigned to a highly corrupt world, and his taboo, U.S.-taught tactics counter it so relentlessly that you often laugh and go, “Umm, Bourne probably wouldn’t have done that…that was kind of fucked…” If you are expecting Neeson to show his age like Harrison Ford, it’s the complete opposite: somehow, this guy could kick Mark Wahlberg and Matt Damon‘s ass.
Unfortunately, Taken hits a rough patch when landing its ending atop Mills’s brutal and family-centric worldview i.e. I see evil people everywhere, and while I love my daughter and ex-wife, they are idiots. (No spoilers ahead.) And in the last third, some of the action enters the “oh c’mon” Die Hard 3 realm of believability, while the creative license taken with a photo kiosk will cause quibbles amongst nerds.
Otherwise, this is a showcase for a great actor to play the rare intelligent, original action hero in a fun, politically incorrect movie…that just so happens to tackle the illegal sex trade in illuminating fashion. (Re: yes, it’s several steps above The Cowboy Way!) Taken does indeed merit a much stronger push by Fox and even consideration as a new action franchise. You get the sense that Neeson’s character could stand in LaGuardia for less than an hour and discover an urgent mission for a sequel that’s ahead of today’s headlines. If not, just leave his 17-year-old daughter alone on a playground with an iPod. Unlike Morel and Besson’s upcoming From Paris with Love, evidently starring John Travolta as a bloated Zangief doppelganger undergoing chemo, Taken 2 needs to happen. Of course, it likely won’t because Neeson’s character doesn’t wear a mask and have X-ray vision. The movie marketplace can be nearly as grim.
Discuss: Any thoughts on Taken from those who have seen it?
Hunter Stephenson can be reached at h.attila[@]gmail.com and via Twitter.