Cinematical

School may be out for the summer, but documentaries about teens may become a hot topic anyway. Nanette Burstein's American Teen, focusing on seniors at a small town in Indiana, was a smash at Sundance and will hit theaters on July 25. Caroline Suh's Frontrunners, about four teens running for elective office at a prestigious high school in New York City, had its world premiere at South by Southwest and has just been picked up for distribution by Oscilloscope Pictures, according to indieWIRE.

Distributor Paramount Vantage has been promoting American Teen like crazy over the past couple of months, so marketing Frontrunners as something different and worthwhile will be the challenge for Oscilloscope, which is the distribution arm of Oscilloscope Laboratories. The company was founded by Adam Yauch, who's best known as one of the Beastie Boys. Frontrunners will be just their third release (after Gunning For That #1 Spot and Flow); Yauch said in a statement: "I was taken by its Rushmore meets Spellbound meets Election quality."

Frontrunners will open at New York's Film Forum on October 15, well-timed to capitalize on election fever, followed by a national theatrical release before hitting DVD next year. Kim Voynar saw the film at SXSW and compared it unfavorably with American Teen, though she says she enjoyed the film overall despite her frustrations. We'll see how audiences react in three months. Until then, the official site has a trailer and more information.

As with so many successful screenwriters, John August's work might be more familiar to you than his name. He wrote Go, Charlie's Angels, and a trio of Tim Burton films -- Big Fish, Charlie and the Chocolate Factory, and Corpse Bride -- before making the mind-bending indie flick The Nines (pictured). He directed it, too (his first feature in that capacity), so he had even more personal attachment to it when it premiered at the Sundance Film Festival in 2007.

A few days ago, August posted an entry on his blog in which he dissects his experience with The Nines and uses it to shine some light on the nerve-racking, dog-eat-dog world of independent filmmaking. Clearly this business is not for the faint of heart. He lists what he calls "the Graduating Class of 2007," 21 buzz-generating films from Sundance that year, including his own. All but one were bought by distributors ... and almost all of them totally tanked at the box office.

That's not very encouraging, especially considering these were the cream of the Sundance crop. Only five on his list made more than $1 million in theaters, and many didn't even crack $100,000. The Nines (which was pretty decent, by the way, definitely worth checking out) got a cursory theatrical release in a couple cities, where it made a paltry $63,165, then eventually found its way to DVD.

I had never heard of Jacques Mesrine before today, but I should have. Take a look at this Wikipedia entry, which matter-of-factly details the dozens of murders, bank robberies and prison escapes pulled off by the legendary French criminal over a 20-year "career." The best part is that he once fled from a sentencing hearing by taking the judge hostage. How can that possibly work?

Anyway, the story's obviously well-known in France, and it has finally made its way to the screen in a two-part biopic called Public Enemy No. 1, starring (who else?) Vincent Cassel as Mesrine. Budgeted at $80 million, it's one of the biggest French productions ever. At least the first of the films is slated to get an October release in France, and the American rights have gone to Senator Entertainment -- the distributor that helped bury All the Boys Love Mandy Lane after the Weinsteins dumped it. Its president promises to do better with Public Enemy, hoping to have the first film in American theaters by the end of the year. He compares it to GoodFellas and Scarface. Honestly, though, Mesrine sounds like more of a badass than Tony Montana.

The movies were directed by Jean-François Richet, who made the not-terrible American remake of John Carpenter's Assault on Precinct 13 a couple of years back. They co-star Gerard Depardieu and The Diving Bell and the Butterfly's Mathieu Amalric (who will also be seen in Quantum of Solace). Oh, and Ludivigne Sagnier, whom I just saw in the very good Love Songs.

Whenever Scott and I aren't out fighting crime together, we tend to be chatting each other up about horror films, as he has often either pointed me towards many a overlooked gem or brought to my attention the best titles currently making the festival rounds.

Whether or not Weinberg was the one who got me initially amped up for [REC], I can't accurately recall, but the point is that I can support his many praises over the film, and I think it's safe to say that we're both cautiously optimistic about the forthcoming American remake, Quarantine. It seems that Sony's smarter minds are also prone to cautious optimism, as Shock Till You Drop informs us that the film's release has been bumped up a week, from October 17th to October 10th.

Now, the 10th is a crowded weekend - we also have a crime thriller, a family adventure, and a teen sex romp - but what's important is that not only do none of those films appeal to the same horror-seeking demographic as Quarantine, whereas video game adaptation Max Payne might on the 17th, but the move gives it an extra week to rake it in until Saw V comes around and effectively dominates the market come the 24th.

As for me, I'm still curious about Quarantine director John Erick Dowdle's previous film, the still-unreleased The Poughkeepsie Tapes. Is it some sort of staring contest between them and the equally delayed All the Boys Love Mandy Lane, or what?

Just the other day, I shared the new trailer for the bloody, music extravaganza known as Repo! The Genetic Opera, and I noted that the flick was still without a release date. If Ace Showbiz is to be believed, the opera has found itself a new tentative square on the calendar -- November 7, 2008. That puts it face to face with the next James Bond film, Quantum of Solace.

Spies. Genetic repossessors. Gadgets. Song and dance. Bond girls. Paris Hilton. Okay, going back and forth between the perks of each feature isn't going to win this battle. These are certainly different films, but I wonder if it's wise to put them head to head. But even more to the point -- why the 7th? Heck, seeing that it's only one week after Halloween, it would make more sense to zip it into theaters a week earlier -- it might have to go up against Kevin Smith, but it would have the Halloween creepiness on its side.

Stay tuned to see if this release date sticks.

Talk about conflicted emotions! In a very fine article at indieWIRE, Anthony Kaufman reports on filmmaker Lance Hammer's recent decision to pull out of a distribution deal with IFC Films for his Sundance award-winning feature, Ballast. While I'm heartened that Hammer is willing to place creative control ahead of financial concerns, I'm also discouraged that there appears to be little room in the current distribution landscape for Hammer's critically-acclaimed independent drama to find its audience.

Ballast details the lives and connections between a man, a woman, and her son. It won praise from our own James Rocchi -- "Cineastes, looking for an American film that offers something on-screen other than glossy consumerist fantasies, will embrace Ballast with the ardent fervor of a drowning victim offered a rope" -- even though James acknowledged the challenges the film would face in drawing viewers from "outside the film festival circuit."

Paris-based sales outfit Celluloid Dreams nabbed nternational rights (outside the US) at Sundance, and then IFC made a deal for US rights in February. But Hammer told indieWIRE that, while he wasn't thrilled with the prospect of not even recouping his production budget from the deal, he was "particularly dissatisfied with the lengthy terms of the contract." All things considered, Hammer decided to walk away: "It becomes difficult to justify giving up creative control."

"If a film fell in the multiplex, and no one was there to see it..."

Limited release: such a simple phrase, and yet two words that all but indicate to a majority of moviegoers that whatever it is they want to see may or may not escape the confines of a NY/LA run before the film in question comes to them by way of Netflix mere months later.

Meanwhile, screens upon screens across the nation are filled by the likes of the same stars and the same stories, with the same special effects and the same happy endings, leaving the smaller films, the different films, the better films to slip through the distribution cracks, as it were.

Among their number falls The Promotion, a film which we've admittedly supported ad nauseum to the oh-so-ironic tune of $365,928 on a grand total of 81 screens. It opened just this past weekend in my market, Orlando, Fla., on a single screen, for a whopping four days, with a grand total of eight showings, before being shuffled off to make room for that other Jason Bateman co-starring comedy-drama hybrid.

It was the first day of July, and the last night for the film. Having enjoyed it twice before and driven by - I don't know - a sense of romantic futility, I turned out for that final showing. Lo and behold, I wasn't alone...

There seems to be no end to THINKFilm's monetary problems, which have plagued not only the company, but also the productions that have been picked up by the ailing business. But at least one of them has found a way out.

The Hollywood Reporter posts that Momma's Man has received a handy life preserver from the likes of Kino International, an independent film distributor. The film, which was acquired by THINKFilm back in March (an acquisition announcement was made, but producers say that negotiations were ongoing), had premiered at Sundance this year.

Momma's Man, which sounds reminiscent of Full Grown Men, focuses on a man (Matt Boren) who decides to escape from his life. During a business trip to New York, the guy visits his parents, "and decides to stay, leaving his wife and child behind." Filmmaker Azazel Jacobs even cast his own parents in the film -- underground filmmaker Ken Jacobs and Flo Jacobs.

The film will get a limited release in New York on August 22, and LA on September 5, before a DVD release in early 2009.* Now I can only hope the rest of the pictures find similar luck. The company might be in trouble monetarily, but they know how to pick interesting features.

*Assumed 2009, as THR says "early 2008 DVD release."

It seems fairly certain that Hancock will do decent business when it hits theaters this week, if only because Will Smith rarely stars in a dud these days -- especially when it's his face selling the movie before all else. Whether or not the film has staying power after opening weekend, however, remains to be seen, but Sony Pictures clearly has a lot of faith in its potential: Last week, the studio revealed its intentions of releasing the film online sometime after its theatrical run and before its DVD release, but only to users with Sony Bravia TV sets. It's a bold maneuver, one that assumes its core base of consumers actually have an interest in Hancock -- but the movie will make a profit either way, so it's a reasonable choice for this intriguing experiment.

Left in the dust by Apple's iPod, Sony continues to struggle in its search for a piece of the digital revolution. Company head Howard Stringer recently told the New York Times that the strategy for releasing Hancock "vanishes the memory of the failures of the Sony Walkman." Well, maybe. While on-demand technology has changed the way audiences consume their media, they don't like paying more money than necessary. Asking your audiences to buy a special device in order to access what, at this point, amounts to one movie -- well, that's asking a lot. But it's still a step in the right direction.

What do you think?

The media is playing two pointless games of "gotcha" with Pixar's wonderful Wall-E at the moment. Eric Kohn addressed the first -- conservative critics griping about the film's "left-wing" message -- over here. The other, best articulated in this post by CHUD's Devin Faraci and this mind-boggling missive from the New York Post's Kyle Smith, but also showing up in Todd McCarthy's Variety review, is that Wall-E's supposed anti-consumerist bent is "hypocrisy" on account of it's released by Disney. I think that's a stupid and dishonest argument, and here's why.

In its latter half, Wall-E presents a vision of the future in which humanity is fat, lazy, basically immobile but for their hoverchairs, and in thrall to a mega-corporation called Buy 'N Large that tells everyone what to do, what to think, and what to buy. The rest of the film is dedicated to Wall-E, EVE, and the spaceship Axiom's human population defying the corporation and returning back to Earth to recolonize. This is disingenuous, the thinking goes, because the Disney empire bears more than a few similarities to Buy 'N Large and, in fact, cynically counts on unthinking, overweight masses, to see its movies, buy its merchandise, and ride the rides at Disney World.

What you'll notice from the folks making this argument is a coy ambiguity about who exactly is being hypocritical here. If the claim is that Disney is being hypocritical by releasing Wall-E, then that may well be right -- but it's also not surprising, newsworthy, or even worth mentioning. Is anyone really shocked that a large, profit-seeking corporation is being opportunistic and ideologically inconsistent? Where is all the outrage about Disney flicks that push the individuality and non-conformism message, when the Walt Disney Company is dependent on a herd mentality among its consumers?

His last movie didn't do so hot, but George Clooney's still making headlines. This time, he has spoken out about the recent split between the Screen Actors Guild and the American Federation of Television and Radio Artists. According to Variety, Clooney has decided to stay neutral where many prominent actors have taken sides, and he's urging others to take the same route. If Hollywood actors go on strike, it'll probably be SAG's fault, considering the eagerness of AFTRA to negotiate a deal with the Alliance of Motion Picture and Television Producers. AFTRA's biggest defender is Tom Hanks, while Jack Nicholson is heading up the other side. "Stories about Jack Nicholson vs. Tom Hanks only strengthen the negotiating power of the AMPTP," Clooney said in a statement.

Like many actors, Clooney wants to take any measures he can to prevent a strike. As a member of SAG, the Directors Guild of America and the Writers Guild of America, he wears many hats. "I'm hoping that there might be a way out of this," he said. "To be sure, I'm not the brightest bulb out there. So maybe someone has a lot better idea." Then he got personal: "I just happen to believe so strongly in both unions... my father, my mother, aunt, uncle, even cousins were all members." Nobody's doubting his allegiance, but after souring his relationship with the WGA after Leatherheads came out, it's hard to say how the other unions will regard him in the coming months.

Bad news from European Variety: Hamish McAlpine's 26-year-old Tartan Films is folding. Today, it was announced that Tartan is laying off of its entire 22-member staff, part of "going into administration" as the Hollywood Reporter notes, using the British phrase that more or less means bankruptcy under the administration of auditors.

The London-based distributor might be best known for the scads of J-horror and K-horror it distributed through the Tartan Asia Extreme and Tartan Terror, aka Tartan Grindhouse. The label had a strong fan base, but apparently not enough of a base to survive. The news may not be a surprise, since the closure of Tartan USA had been announced at this year's Cannes Festival, with the sale of domestically-distributed films to Palisades Media.

Tartan films had included such prestige fare as 12:08 East of Bucharest, 2005's best film The Death of Mr. Lazarescu (above) and Johnnie To's Triad Election; the Asia Extreme label got grittier with for Oldboy, the original Ringu and its sequel, and the excellent Korean chiller A Tale of Two Sisters. Here's a list of some of the releases; as eclectic a roster as there is in the current cinema, bearing as it does names from Michael Powell to Park Chan-Wook.

With the film industry so busy that even the art houses are having trouble finding room for the indies they want to show, some execs are starting to look at more creative ways of getting their movies seen. That's why the Weinstein Co. is handing over one of its products to IFC Films, which will release it later this year in theaters and -- on the same day -- through Video-on-Demand, right into people's homes.

The movie is Elite Squad, a Brazilian drama about police corruption that won the top prize at Berlin in February and comes from a great pedigree: it was directed by José Padilha, who made the fantastic documentary Bus 174, and co-written by Bráulio Mantovani, who wrote City of God. (Cinematical's Scott Weinberg reviewed it mostly favorably at Tribeca.) It's the kind of foreign film that would normally do pretty well on the U.S. art house circuit, if the art houses weren't already overcrowded at the moment.

So the Weinsteins -- who actually helped produce the film, rather than merely buying the finished product at a festival -- have made a deal (with unspecified terms) with IFC Films. IFC will release it in a few theaters at the same time that it becomes available through IFC's Video-on-Demand service. Our Christopher Campbell wrote an excellent summary of this practice, known as "day-and-date," in April. Basically, day-and-date helps non-blockbuster films get seen by more people.

If you were itching for some extremely bloody and gory footage today, you can get your fill after the jump, with the Pink Eye trailer. According to The Hollywood Reporter, this super-low-budget horror flick was picked up by Halo-8 Entertainment, and will get its limited release this summer, before hitting DVD shelves on September 30.

Personally, I was hoping for actual pink eye, since I appreciate the horror flicks that dip into the wacky -- maybe some exploding pustules or something. Instead, this film, directed by James Tucker, focuses on an insane asylum where docs are performing illegal drug tests on the patients. This turns the poor folks into homicidal, hallucinating maniacs, and then one of the deformed bugger breaks out of the hospital and things don't go well.

If this is your cup of bloody tea, you can get more info on the flick's MySpace page, and read a review at Bloody Disgusting.

The wonderful Bubba Ho-Tep took forever to get on screens, and Bruce Campbell's My Name is Bruce is no different. As that poster on the right teases, the film was supposed to come out ages ago, but it's been sitting in the "Will it ever be seen?!" ether for a long, long time. But there's good news, Campbell fans! ShockTillYouDrop reports the film will hit theaters this October -- according to Dark Horse Comics' Mike Richardson.

He says: "Some people maybe thought the film fell out or that there was something wrong with it. ... We beefed it up so it could go into the theaters." That sounds perfect to me, what could make for a better Halloween than Bruce, Ash, and wonderfully funny horror?

Oh, but that's not all! The dude also says there's another pic in the works called My Name is STILL Bruce. That sounds awesome, but I'm going to try and not get excited about that since we haven't even seen the first. And who knows if it will ever get off the ground? It could fizzle like Bubba 2.