Cinematical

Yesterday, Scott posted a terrific month-by-month report card looking back the 2008 movie scene from the halfway point. With the interval between theatrical and DVD release dates shrinking steadily, a lot of the movies from January through June are either already available on DVD, or soon will be. For your consideration, here are what I consider to be seven underseen, underexposed, and/or unfairly overlooked gems from the year to date. Something to consider next time you log on to Netflix.

In no particular order:

1. Charlie Bartlett - I'll clamber out on a limb and call Charlie Bartlett the most valuable movie for young teenagers this decade (despite its R rating). Most films for kids and teens unthinkingly implore them not to worry about being popular -- do your own thing! Don't worry about what your peers think of you! Good advice in the abstract, maybe, but completely detached from reality for most school-age kids, who have to, you know, go to school, and eat in the cafeteria. Charlie Bartlett is smart enough to realize this. Rather than imploring kids to "be themselves," it wants to say something about what the ones who are actually popular should do with their popularity. For once, it's a movie with a message aimed not at the misfits but at the leaders: the kids who are smart, charismatic and capable; the schoolyard trendsetters and tastemakers. It powerfully suggests the importance of using that influence for good instead of evil. Oh, and it's bright, sincere, and very funny, with a downright miraculous performance by Anton Yelchin.

Call it performance art, savage prank behavior or audacious social satire. Call it whatever you want, but there's no question Sacha Baron Cohen is at it again. As Erik reported back in March, the Borat star began surfacing as his Bruno alter-ego in a variety of absurd situations likely intended for the movie starring the effeminate European character. Wearing chains at a Kansas church? Check. Weirding out Ben Affleck? Check. Airport dancing? Yep. Now, bizarre reports of a cage match in Arkansas, where attendees paid for admission expecting to watch a fight and instead witnessed two men get naked and lock lips, suggests Cohen is still at it, more than three months down the line. Not only that, but he appears to have pulled the stunt twice: First on June 5 at the Four States Fair Grounds in Texarkana, then again at Fort Smith's convention center, where a character named "Straight Dave" apparently selected a planted audience member to challenge him.

Whether or not you agree with Cohen's brash style -- he claims to take inspiration from Michael Moore's stunts --
the actor definitely constructs his gags with very specific ideas in mind. Borat took a stab at American stereotypes of foreign cultures, but Bruno looks like it's geared more towards attacking homophobia -- specifically as it manifests in middle America. However, it's hard to say whether or not such excessive spectacles will manage to correct misinformed perspectives or reinforce them.

When Kimberly Peirce gave us Boys Don't Cry, it was a critical explosion. She came, she moved us, and Hilary Swank came out of it with an Oscar. The film raised our expectations, and they rested there as Peirce moved out of the spotlight and worked behind the camera. The wait lasted almost a decade, but after nine years, she was finally back with Stop Loss -- another film in the cinematic, Iraq War whirlwind. While it was destined to fall under the weight of Iraq apathy, it was another example of Peirce's commitment to personal stories.

Stop Loss is the fictional account of a real problem: over a hundred thousand soldiers have been denied release when their time in Iraq is up. Instead of best wishes, they're sent back to Iraq, and life beyond the war's struggles becomes a distant, vague hope, rather than a present reality. Ryan Phillipe stars as Sgt. Brandon King, a man who is headed towards the end of his time in Iraq, or so he thinks. First, his unit is tricked and attacked. He loses some of his men, and struggles with the realities of warfare -- dead friends, and the fact that no matter how hard you try, innocent people will fall in the fight.

After an explosive entry to the cinematic world with the hard-hitting, Academy Award-winning Boys Don't Cry, Kimberly Peirce backed away from the movie spotlight. However, it wasn't a vacation. During her hiatus, she worked on a project that came to be Stop Loss, which hits DVD shelves today. Last week, Cinematical got the chance to talk to the director about the film, how she approaches filmmaking, and what her plans for the future are. It's a great discussion about how her life influences her work, and vice versa, and it's quite interesting when she discusses casting with a military metaphor.

However, her work's not done in the world of stop loss. While the movie is out to audiences, she continues to champion the soldiers suffering due to this practice. She's speaking in Washington, D.C. on the matter, and helping the cause through stoplossmovie.com -- where you can check out a collection of videos made by soldiers and their families.

Batman: Gotham Knight
Like the Animatrix, Batman: Gotham Knight is a collection of filler stories. Created by the hands of different writers and animators, Gotham Knight was made to bridge the gap between Batman Begins and The Dark Knight. But it's not just a collection of adventure stories -- these blips into Gotham take the story from all sides -- the villains that wreak havoc, the police whose work is interfered with, the kids who spot him in action, and even Bruce Wayne working with Lucius Fox on gadgetry. Be prepared for the look to be different -- this isn't your ordinary looking Batman -- but there are also nods to the past. Kevin Conroy voices Batman in this collection, just like he has for many years now on the animated series.

Of course, no true special release can be free of features, and Gotham Knight is no exception for this 2-disc release. On the first, you get a disc-wide commentary with Kevin Conroy, Dennis O'Neil, and Gregory Noveck (it pours through each episode) and a good preview of the upcoming animated Wonder Woman. On the second, you also get a long documentary called "A Mirror for the Bat" that discusses the character and the villains he fights, another called "Batman and Me, a Devotion to Destiny: The Bob Kane Story," and some final extras that focus on Batman: The Animated Series.

Further information on this release can be found, in-depth, at DVDTalk.

Buy the DVD

Flakes is a neighborhood breakfast fantasy -- a funky, retro shop dedicated to cereal. You walk in, pick your crunch of choice, and are instantly served a bowl of cereal that you can enjoy with the quirky members of your community. But it's not all Corn Flakes and Cheerios -- there's a large wall of selections from the new to the old, discontinued, and hard-to-find varieties. It's history in a bowl, served without the capitalist cleanliness.

In a film, there's a number of ways this can play out that could make for a memorable and lovable indie experience. However, while Flakes mixes the worlds of High Fidelity, Reality Bites, Clerks, and Empire Records, it does so without the verve and life that made each of those lovable classics.

Can a director best known for bloody bullet ballets pull off a historical action epic? We'll know later this week when John Woo's Red Cliff rolls out across Asia. The film's full-length running time of more than four hours has been split in two; the first part opens in China, Hong Kong, Korea, and Taiwan on Thursday, with a release in Malaysia next week and Japan in November, according to Variety. Part two is set to debut next January.

Red Cliff, based on the classic novel Romance of the Three Kingdoms (which has been adapted for television and film multiple times), is the fulfillment of a dream for Woo, who first tried to make it nearly 20 years ago. The title refers to a battle involving more than a million soldiers that brought an end to the Han Dynasty in 208 AD, resulting in the division of China into three kingdoms. Tony Leung Chiu-Wai, Takeshi Kaneshiro, Zhang Fengyi, Chang Chen and Lin Chiling star.

Woo has been staging elaborate action sequences for many years, but hasn't tackled a project of this scale and historical sweep before. An international version, expected to run about two and a half hours, will be completed by January. No US distributor has yet been set. To get fully caught up on this sometimes-troubled production, reportedly budgeted at $80 million, read our previous reports from February 2006, September 2006, April 2007 (1), April 2007 (2), August 2007, February 2008 (trailer), and June 2008.

Back at this year's Sundance Film Festival, a bunch of folks were "losing it" over Jonathan Levine's The Wackness -- saying, to a certain extent, that it was the dopest flick of the fest. And that's cool. Support those films you love, right? Well, not long after the film premiered at Sundance, it was acquired by Sony Pictures Classics. Wonderful! A film a lot of people loved was picked up and would hit theaters at some point later in the year. Ah, but all was not well in blogger land -- see, a few bloggers were disgusted that SPC picked it up, going so far as to send an email around trying to get other people to either join their cause and/or write about it. Their reasoning was that SPC had a poor track record when it came to promoting indie films, and were afraid The Wackness would become yet another casualty. That it would disappear in limited release ... and be eaten by a Cabbage Patch Kid, or whatever.

And so it was. Some folks agreed with their cause, while others couldn't understand why they'd be upset when, in reality, their favorite film WOULD eventually hit theaters. You can't say that about every Sundance film, or festival film for that matter, and so the simple act of being picked up for distribution is, well, kind of a big deal. After a flurry of posts from a few different blogs which attacked the deal, attacked the teaser poster and then attacked the first teaser trailer, it all seemed to fizzle out. From that point on, SPC continued to poor on the Wackness marketing: We got roughly four or five different trailers, a poster, a viral campaign, a dope website, TV spots and a slick soundtrack.

Was SPC botching it all up? Hardly ... but then came the film's box office debut this past weekend ...

A bunch of bloggers and Peter Travers have already weighed in with glowing early reviews of The Dark Knight, but you were justified if you reserved judgment. The bloggers who were fortunate enough to get a look at the film were pretty squarely in the geek demographic -- which is not any sort of indictment, but just an indicator that they had a very specific perspective on the film. And Peter Travers is... Well, he's Peter Travers. Now, though, come some reviews you shouldn't so readily ignore -- and they're gushy, (almost) unqualified raves.

This from Kirk Honeycutt in the Hollywood Reporter: "[Nolan] builds movies around ideas and characters, and "Dark Knight" is no exception. The ideas here are not new to the movie world of cops and criminal[s], but in the context of a comic book movie, they ring out with startling clarity. In other words, you expect moralistic underpinnings in a Martin Scorsese movie; in a Batman movie, they hit home with renewed vigor . . . . With the film's race-car pace, noise levels, throbbing music and density of stratagems, no one will follow all the plot points at first glance. Not that the story with its double crosses and ingenious plans isn't clear, but to enjoy the full glory of these urban battlefield strategies, multiple viewings are required."

Whoo! And then this from Justin Chang in Variety:

The biggest movie star in the world has another July 4th notch in his belt. His fourth huge Independence Day release (fifth if you count Wild Wild West, which came out June 30th) is also his biggest: the outrageously underappreciated Hancock had a $66 million 3-day weekend, and $107 million over the five-and-a-half days from Tuesday night through Sunday. It's the third-best 3-day of the year, behind only Iron Man and Indiana Jones. The figure is skewed since the movie came out on Tuesday and Friday was a national holiday, but that's the stat.

The wide release of the critically acclaimed Kit Kittredge: An American Girl didn't go over too well: the movie took in $3.6 million on over 1800 screens. Not too surprising given its extremely narrow target demographic, but I was expecting it to expand a little bit stronger.

Wall-E took a pretty harsh 47% hit in its second weekend -- 30-40% has been more standard for recent Pixar releases -- but its $128 million cume is nothing to cry about. Wanted had it even worse after last week's surprisingly robust debut, dropping 60% to $20.6 million for the weekend and $91 million total. And no one wants to see The Love Guru, which dropped out of the top 10 in its third week and won't make it to $40 million.

The full 3-day top 10 after the jump.

I don't know the last time I felt like a kid at the movies, but while watching Journey to the Center of the Earth 3-D this past week, I honestly reverted to my 8-year-old self. That isn't to say the movie is necessarily as good as the movies that astonished me as a kid -- because of the subject matter, I'd think about comparing it to Indiana Jones and the Temple of Doom and The Goonies, both of which came out when I was around that age, and neither to which this film holds up in terms of originality or storytelling craft. But as far as holding onto my sense of wonder, Journey is up there.

Of course, it's necessary to point out that Journey would be nothing without the digital 3-D factor. It's actually the first live-action narrative feature to be shot and released in the new format (the non-fiction concert films, U2 3D and Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour were technically the first live-action 3-D features), and while it's far from perfect, it is a terrific pioneer. I shall continue favoring the look of animated 3-D films, especially those directed as well as Monster House, and I anticipate that James Cameron's Avatar will blow away all live-action 3-D films released prior to its arrival. For now, though, I'm telling you, with the utmost cinemaphilic urgency: you need to see this ASAP.

Back in the old days, moviegoers used to get a cartoon before every movie. A lot of the classic Donald Duck, Bugs Bunny, Tom & Jerry, Droopy, Popeye, Superman & Casper the Friendly Ghost cartoons that many of us grew up watching on TV were once savored on the big screen. Eventually filmmakers began cranking out cartoons much more cheaply for television, and it was the end of an era -- almost. In recent years, Spike & Mike's touring cartoon festival has been a big success and other cartoon festivals have joined in. Earlier this year the five Oscar-nominated animated shorts opened in theaters, although together they ran nearly two hours. The new The Animation Show 4 collects some 18 shorts and series and runs less than 90 minutes. (See official site.)

Curator Mike Judge, the gentleman behind "Beavis & Butthead" and "King of the Hill," is definitely a man who likes his cartoons to get to the point, and so the three longest shorts here run about 7 minutes apiece. Steve Dildarian's Angry Unpaid Hooker is one of them. When his girlfriend arrives home early, Tim has trouble explaining the angry unpaid hooker sitting on his couch. The befuddled Tim will go on to star in his own series, "The Life and Times of Tim." Another epic is This Way Up, from the team of Smith & Foulkes. In it, a pair of long-faced morticians (father and son?) carries a sarcophagus to its final resting place, attempting to keep the box upright despite cruel fate's best attempts to knock it down. Stefan Mueller's Mr. Schwartz, Mr. Hazen and Mr. Horlocker, from Germany, is the other "long" one. A cop investigates some noisy neighbors in an apartment building, but can't quite get the entire story until the same scenes are played out again, behind closed doors. This features the greatest cinematic drug trip since James Toback's Harvard Man.

(Note: We're re-posting the following review of The Wackness from The Tribeca Film Festival to coincide with the film's theatrical release this weekend.)

Finally, a film for kids of the 90's!

This is a hard review to write because it feels as if The Wackness was tailor-made for people like me: a male who grew up in New York City and graduated high school in 1994; the year this film was set. (Actually, I graduated in 1995, but it doesn't matter much: same kids, same lingo, same music, same surroundings). How do you review your childhood? These were all kids I hung out with, this was the music we listened to, these were the mix tapes we made and these were the girls we tried to hook up with ... but didn't. And, to some extent, it actually surprises me that so many people have loved The Wackness -- not because it's a terrible movie, mind you, but because kids who grew up in New York City during the '90s were annoying as all hell, with their "Yo, that was mad good" and their "He's got da skillz, kid!" Trust me, I know -- I was one of them.

Tell No One is a decidedly modern thriller that also, wisely, respects the great examples of the genre's past; strip away all the e-mail and web video and it's a classic Hitchcockian thriller, where a regular-but-resourceful man is squeezed between those who have committed a crime and the cops who think he's committed it. Based on a novel by American best-selling author Harlen Coben, Tell No One is transplanted -- gently -- to France by writer-director Guillame Canet, who turns Coben's breezy summertime page-turner into a breezy summertime movie. Yes, there are plot points in the film where you'll later go back and puzzle over how who knew what when, but trust me, you won't be thinking about that while Tell No One's running up on the big screen.

Alex (François Cluzet) and Margot (Marie-Josee Croze) are happy, childhood sweethearts who've made a real and adult marriage out of that foundation; they're relaxing at the family's country estate enjoying a little night swimming when Margot gets out of the water to check on something. There's a shout, a scream; Alex swims to help her ... and is knocked unconscious by a blow. And then a title jumps the film "Eight Years Later." It's an eye blink for us; for Alex, it's been an eternity.

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.