Actually, before we jump right into that, there's an intriguing bit of movie news out there today about a reunion of director Noah Baumbach and Jesse Eisenberg.
If you've never seen "The Squid and the Whale," while not the most uplifting of movies, there are few rentals I can recommend higher. Baumbach's directing debut (I believe) was an autobiographical tale of sorts about the divorce of his parents, played by Laura Linney and Jeff Daniels, with Eisenberg playing a character at least loosely based on Baumbach himself.
It was just a sweet little movie, and of course since then, Eisenberg has gone on to become more than a bit of a star. He'll next be seen in August in the Ruben Fleischer ("Zombieland") comedy "30 Minutes or Less" with veryfunnyman Aziz Ansari, and now comes word this morning that he's set to make another movie with Baumbach.
The movie, titled "While We're Young," is apparently about a Brooklynite 20-something couple who inspire an older, uptight documentarian and his wife to loosen up (according to the always reliable The Playlist, at least). If this all comes together, Ben Stiller and Naomi Watts would play the older couple, and Eisenberg and an actress to be named later the younger one.
Sounds like a comedy of manners (or lack thereof) perfect for Baumbach, so here's hoping this all comes together.
And now, because I'm in a bit of a hurry to go swimming before work, let's just jump right into the clips. For about a week or so, a very shaky camera pirated copy of the trailer for David Fincher's thoroughly unnecessary remake of "The Girl With the Dragon Tattoo" has been circulating on the Internet. Well, Sony apparently finally got fed up, and pulled that copy while replacing it with this spiffy official version.
I have to say, however, that as shiny as it all looks, it seems to be pretty much a shot-for-shot remake of the original Swedish movie, which is already pretty sublime entertainment, so what's the point of all this? Daniel Craig may well turn out to be an upgrade as Blomkvist, but in movies, there will always only be one Lisbeth Salander, because Noomi Rapace took over the role so completely. Having been burned once by what Matt Reeves did to one of my favorite movies with "Let Me In," I'm not ready to give in yet and believe there's any reason for this to be happening. Anyways, after that mini-rant, here's the cleaned-up trailer for you to "enjoy."
Next up, HBO has been on a real roll lately with "Treme" and even more so with "Game of Thrones," which really does get better and better as the weeks go by. And very soon (June 26, to be precise), the fourth season of "True Blood" will premiere. Though I'm not terribly enamored with the sometimes extreme liberties the show takes with Charlaine Harris' already very good Sookie Stackhouse novels, the show still remains a fun and funky brew. And now, through it's HBO Go toy and on to You Tube, HBO has leaked the first three minutes or so of the season 4 premiere, with more chunky bits to come before it's all unveiled. Enjoy, and then stick around for the return of Pulp and even pure, unspiffied up "Star Wars."
When I was supposedly in graduate school (but actually just having a blast in Athens, Ga.), Pulp's "Different Class" was easily one of my favorite albums, and it's one that I still listen to fairly often today. Here, performing I'm not sure where, is Pulp reunited, with Jarvis Cocker clearly just as cheeky as ever, performing "Disco 2000," and sounding great. Enjoy.
And finally today, where can you see the original "Star Wars" (now episode IV, I suppose), without any 3-D, extra footage or any other kind of enhancement? Why here, of course. I couldn't think of anything better to brighten up a Wednesday morning, so here, as promised, is the movie in its blissfully low-tech entirety. Enjoy, and have a perfectly endurable Wednesday. Peace out.
Wednesday, June 01, 2011
A Wednesday clip show, with Fincher, Pulp and even "Star Wars"
Saturday, January 15, 2011
Buffy's back .. sort of .. and a lot of other fun Saturday morning stuff
Actually, there's no possible bigger news out there now than what Ridley Scott is cooking up with Damon Lindelof of "Lost" and "Star Trek" fame, and since this is nominally supposed to be a movie site, let's just start there.
Rumors have been flying for months that Scott would, for his first science fiction movie in 30 years, be making either a sequel or prequel or some kind of extension of "Alien," but instead it sounds like he's thankfully taking on something much more ambitious.
Details are scant so far, but instead Scott and Lindelof are at work on an original idea, and they've made at least one truly great decision so far by casting Lisbeth Salander, aka Noomi Rapace, in the lead. Anyone who's been here before knows that I have more than a slightly unhealthy obsession with her, so bully.
Little more beyond that is known except it will be titled "Prometheus," there are at least four other major roles to fill, and this is set to be released March 9, 2012. Here's a bit of what Scott had to say about it:
“While Alien was indeed the jumping off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien’s DNA, so to speak, but the ideas tackled in this film are unique, large and provocative. I couldn't be more pleased to have found the singular tale I'd been searching for, and finally return to this genre that's so close to my heart.”
Nothing but awesome there, but frankly, Scott has been a really hit-and-miss director for me. He's certainly made great science fiction with "Blade Runner" and "Alien," but without exaggeration I really think there's a pretty strong argument that his "Robin Hood" was the single worst movie of 2010. Even so, this news is certainly worth keeping an eye on.
But getting to the main event here today, Sarah Michelle Gellar is finally coming back to TV, and it sounds like she just might have something worth watching this time.
Coincidentally enough, during this time of hardly any new TV (except for FX's fairly brilliant boxing drama "Lights Out" - watch it), I've been going back to "Buffy the Vampire Slayer" via Netflix streaming, and it's at least as good as I remember. Season six, which I originally thought was a bit of a weak link, has been surprisingly strong, with crazy Willow at the end being even more fun than I remembered.
And here's what SMG (worst initials ever? perhaps) will have appearing on TVs next fall (I assume.) CBS has given a pilot greenlight to something called "Ringer," from "Supernatural" writers Eric Charmelo and Nicole Snyder, and it just sounds like a heck of a lot of fun.
On the show, Buffy will play a young woman who is on the run from the mob, and to hide herself, assumes the identity of her wealthy twin sister, only to find out sis has a bounty on her head too. If I have this right, SMG will be playing two parts. Bring it on!
I tried to remember the last time I've seen her in anything that wasn't "Buffy" or "Angel," but off the top of my head couldn't. After cheating with an IMDB check, it turns out to be "The Grudge" in 2004. While that was a fun little flick, she's pretty much disappeared since, so I can only say welcome back, Buffy!
And in other news, via Michael Ausiello's truly great TV Line site, it seems that Michael Scott, and therefore Steve Carell, will be leaving "The Office" well before this season ends. Here's what executive producer Steve Daniels told Ausiello:
“Steve is leaving earlier than the [season finale]. The big ‘Goodbye, Steve’ thing will be before [May] sweeps.”
While that's a bit of a surprise, the battle to replace him should then take over the end of this season, and it should be a blast (and frankly some much needed new life to what is becoming the weak link in NBC's Thursday night comedy lineup - excepting "Outsourced," which I simply refuse to acknowledge at all). My heart is with Dwight here, but I have to assume they're gonna bring in an outsider, and last I heard Danny McBride was in the running, which would be perfection. Here's more of what Daniels had to say about it:
“Our basic plan is to see the jockeying and interviewing [for Michael's job], and not have that happen off-camera and suddenly present America with the choice. We’d rather play out the stories of the various characters who want that seat, and show them fight for it.”
The new boss will be revealed in what I have to assume will be an hour-long season finale, so let the Dunder-Mifflin infighting begin!
OK, I know I'm all over the place today, but I want to wrap this up with a couple more cool things before I dash off the pool for a swim. Artist Sam Smith, with whom I agree on half of his choices for the best 10 (well, actually 11) movies of 2010, has come up with a simply stunning series of posters for his choices. He can't sell them, but he has posted them all here, and they're very well worth checking out. For a taste, here's his great poster for my single favorite movie of 2010 by a pretty wide margin, "Winter's Bone."
And finally today, perhaps some karmic rooting for Peter Weir's "The Way Back" to play wide enough to reach my little corner of the world when it opens in six days. Considering the only other offering is "No Strings Attached" with Natalie Portman and Demi Moore's beau, the odds are actually fairly good. The movie itself will be epic even by Weir's standards, telling as it does the story of a small group of multi-nationals who travel through five hostile countries after escaping from a Russian gulag in 1940. Here, courtesy of Collider, are seven clips from the film, which stars Colin Farrell, Saoirse Ronan and Ed Harris. Enjoy the clips, and have a fantastic weekend. Peace out.
Thursday, January 13, 2011
W reveals first look at Lisbeth Salander - take two
Actually, before we get into any of that (and if you haven't seen these, there well worth a short wait), I have a bone or two to pick with people who watch TV (and believe me, I watch much more than I should.)
After running 13 episodes of "Terriers" - easily my favorite new show of last fall - before canceling it to due to very low ratings, FX has now managed to debut a show that, at least in its debut, is fairing even worse.
And the really sad part is that "Lights Out," while far from a perfect TV pilot, shows a heck of a lot of potential. I'm a sucker for boxing-related entertainment anyways ("The Fighter," while not one of the best movies of 2010, is still pretty sensationally entertaining, thanks almost entirely to Christian Bale), and this show has the promise to be a nearly first-rate entry in the genre.
First, the very good. The ensemble is all-around good, led by someone I had never seen before, Holt McCallany, as the retired pugilist Patrick "Lights" Leary. He brings a winning sense of losing to the role of a fighter who's been retired for five years on the wishes of his wife (Catherine McCormack) after feeling he was cheated out of winning his last bout. Add to that Stacy Keach ("Fat City"!) as his father/manager and Pablo Schreiber (aka Nicky Sobotka on season 2 of "The Wire") as his brother and serially inept manager, and you've got the makings of a gritty family dynamic that, given time, could lead to some fantastic television.
In the pilot, Lights finds himself extremely low on money and is forced to become the muscle for a loan shark, which he's not surprisingly very good at. To tell you more beyond that would be criminal, so I'll just say the end of the pilot sets up the story arc of season one, assuming enough people tune in to even make that possible. Please do!
OK, now on to the main event. Though I'm still not and probably never will be sold on the need for David Fincher to make an English-language version of "The Girl With the Dragon Tattoo," it's hard to argue he didn't make a heck of a splash with this reveal of what Rooney Mara will look like as Lisbeth Salander in W magazine. That really doesn't need any more build up from me, so here goes, the cover shot and then one more.
Though, having read the second and third Lisbeth Salander novels by Stieg Larsson and watched the first two movies in their original Swedish (and if you like smart thrillers, do yourself a favor and watch them back-to-back now), I'm sure Lisbeth would never agree to strike such poses, I don't think there's any denying that Fincher and Mara have nailed the look.
And, though in sheer attitude Noomi Rapace got Lisbeth just about perfect in the Swedish movies, her look was the only thing that gave me any pause. In the books, though clearly a tough woman who doesn't take any shit from anyone, Lisbeth also cuts a pixieish figure, at least in the picture Larsson paints in your mind (well, at least mine). So, Fincher has gotten at least one thing right so far, but after sitting through Matt Reeves' thoroughly unnecessary, almost shot-by-shot remake of "Let the Right One In," he's gonna have to do a whole lot more to hook me on the need for any of this.
OK, I have to get to the job that still somehow pays my bills, so I'll just leave you with this rather surreal video from PBS' "American Masters," which I believe aired last night (while I was catching up with the pilot of "Lights Out" and "Parenthood" - sublime). In it, The Dude himself pays a visit to The Little Lebowski, a store in NYC with an obvious theme. While it's no surprise that such a store exists, it still adds a fun level of oddity to have Bridges pay it a visit. Enjoy the clip, and have a perfectly passable Thursday. Peace out.
Sunday, December 26, 2010
My top 10 movies of 2010
Before I depart for my annual year-ending week in NYC with my family, I figured it's as good a time as any to come up with my top 10 movies of 2010, both because I figure by now I've seen just about everything that might make this list except for maybe "The King's Speech" and "Rabbit Hole," and simply so this won't be completely empty while I'm gone.
And lest anyone wants to squawk about the fact that neither "Inception" nor "The Social Network" made the cut, rest assured they're among the 10 runners-up, along with "Shutter Island", "A Prophet", "Splice", "Despicable Me", "Easy A", "Harry Potter and the Deathly Hallows - Part 1", "The Chronicles of Narnia: Voyage of the Dawn Treader" and "The Fighter".
So, without further delay, let's get to it, in order only of release date until the very end, where you will find my favorite movie of 2010. And as usual, please feel free to add your favorites and let me hear about any that I've unfairly snubbed.
"The Girl With the Dragon Tattoo"/"The Girl Who Played With Fire": These should definitely be viewed together, and ideally all at once with the third chapter, "The Girl Who Kicked the Hornet's Nest," but I haven't had the opportunity to see it yet. Given how sprawling and packed with details the novels by Stieg Larsson are, these are both nearly perfect models of how to adapt books for the big screen, and though David Fincher is doing an American remake of the first movie for next year, please do go see these first, because just trust me: Once you see her, I'm sure you'll agree that Noomi Rapace simply is Lisbeth Salander.
"Kick-Ass": Though many movies try to re-create the feel of comic books on the big screen, very few come as close to accomplishing it as this thoroughly fun flick from Matthew Vaughn (for the opposite kind of failure, view the almost completely lifeless "Iron Man 2".) Sure, there are moral questions about having a 13-year-old assassin spray bullets all around, but young Chloe Moretz is electric as Hit-Girl, and she and Vaughn create at least two of the year's best action sequences here.
"Toy Story 3": Being sometimes a fairly cynical fellow, I doubted that all the hype about this Pixar flick could be true, but it really does pack the emotional and entertaining punch to launch the "Toy Story" series into any discussion about the best movie trilogies. And "Toy Story" fans take note: The franchise will live on, sort of, as Barbie and Ken will star in the short movie that will precede "Cars 2" next summer (and will probably be better than the main attraction).
"The Other Guys": A Will Ferrell movie? Really? Yes, because Ferrell and Adam McKay bring all kinds of funny and just enough smarts to this comedy that skewers the buddy cop genre almost as well as Edgar Wright's "Hot Fuzz." And besides, this movie has both the best opening and closing credit sequences of the year, which may not sound like much, but they really are small wonders to behold.
"Animal Kingdom": This Australian gangster flick lacks all of the glamour of "The Godfather" or "Goodfellas," but packs even more of the grit. The story of the less-than-two-bit Cody clan, a crime family that never rose too high and is already on its way down as the movie opens, is hardly a sunny tale, but it's extremely compelling, thanks in large part to the chilling performance of Jacki Weaver as the menacing matriarch.
"The American": This is probably the flick on this list that most divided audiences, but I know that along with me, at least Roger Ebert and Reel Fanatic reader Jeremy Jirik also love it, so at least I'm not alone. "Control" director Anton Corbijn displays all of that titular quality here as he strips this tale of George Clooney as a hit man on what could be his last mission in Italy down to the barest bones of a thriller, making it instead a slow-moving but riveting character study and just a good story well told.
"127 Hours": Though the tale of what lengths trapped climber Aron Ralston had to go to remove himself from underneath a boulder in a valley was as hard to watch as I could have expected, it's also completely imbued with optimism thanks to director Danny Boyle and energy thanks to James Franco, even at its darkest moments. And even though Boyle used two different cinematographers, Enrique Chediak and Anthony Dod Mantle, you'd never know it as they merge their talents to drop us into every treacherous step of Ralston's journey, and should definitely share an Oscar for their efforts.
"True Grit": Even the ridiculous coda at the end, which is loyal to the source but just drains the energy right off the screen, can't ruin the fact that this remake is one of the Coen brothers' very best flicks. Restraining from most of their usual oddity, they instead just let the actors have a ball here, as The Dude, Matt Damon, Josh Brolin, Barry Pepper and, most of all, young Hailee Steinfeld as Mattie Ross all do, elevating both the humor and heart of Charles Portis' great novel. I've seen it twice already, and just may again before it leaves theaters.
"Black Swan": There's not an ounce of subtlety in this Darren Aronofsky flick, but since at its most basic level he's essentially made a great B horror movie (albeit it one of the psychological variety set in the world of ballet), he didn't really need any to make it soar. I'd have to imagine Natalie Portman is the odds-on favorite for the Best Actress Oscar, but Vincent Cassel should hear his name called in the Best Supporting Actor category too as the ballet guru who leads Portman's Nina Sayers to the darkest reaches of her own mind.
"Winter's Bone": Definitely saving the very best for last, I first saw this movie this summer while on vacation with mi hermano in Philadelphia, and it's been burned on my brain ever since. I watched it again recently to make sure, and yes, Debra Granik's tale of a young woman (the fantastic Jennifer Lawrence, who would get my Oscar vote if I had one) forced to go on a hunt through the American underbelly that is the Ozarks to search for her deadbeat father - who has put the house she's raising her two younger siblings in as a guarantor for a court appearance he's almost guaranteed not to make - is every bit as good as I first thought. Bleak? Of course, but as Lawrence's Rhee Dolly searches for the truth in this mess, this flick combines all the best elements of film noir with a coming-of-age tale of sorts to cook up my best movie of 2010 by a pretty wide margin.
And there you have it. Please, as usual, feel free to share any of your favorites or any that I've just unfairly snubbed, and have a simply splendid new year. Peace out.
Tuesday, December 07, 2010
Vive la femme: The best female performances of 2010
Though it would be hard to call 2010 a banner year for great female movie roles, there have still been some great performances this year from actresses young and old.
So, with the caveat that I have yet to see some potentially great work from Amy Adams in "The Fighter," Natalie Portman in "Black Swan" and newcomer Hailee Steinfeld in "True Grit," here are my picks for the best female performances of 2010. As always, please feel free to sound off in the comments with anyone I may have snubbed.
Noomi Rapace: "The Girl With the Dragon Tattoo"/ "The Girl Who Played With Fire": Though she is almost a complete mismatch with the picture of Lizbeth Salander you get in the wildly popular books by the late Stieg Larsson, you won't soon forget how tough and yet vulnerable Rapace is in the role of the talented hacker. Take a weekend and watch these back to back for two of the best thrillers of the year.
Helen Mirren, "The Last Station": The most surprising thing about this movie about the last days of Leo Tolstoy, which was screened by the Macon Film Guild, is just how much fun it is, due in large part to the the interplay of Dame Helen Mirren and Christopher Plummer.
Chloe Moretz: "Kick-Ass"/"Let Me In": With her work in these two movies, one I love ("Kick-Ass") and one I pretty much despise ("Let Me In"), I'd say the young Georgian Moretz had the best year of any actress in 2010, and probably had the most fun too as the extremely lethal Hit-Girl in "Kick-Ass." Keep an eye out for her next year in Martin Scorsese's "Hugo Cabret."
Jennifer Lawrence: "Winter's Bone": Lawrence's performance as Rhee Dolly, the young woman forced to enter the seamy world of her tangled relations to search for her deadbeat (and possibly just dead) father was the best of 2010, and her reward: She gets to play Raven/Mystique in "Kick-Ass" director Matthew Vaughn's "X-Men: First Class." Bully.
Annette Bening: "The Kids Are All Right": I'd have to say she's the odds-on favorite for the Oscar for Best Actress, and why not? Though I found the movie itself to be pretty pedestrian, her performance as one half of a lesbian couple (with Julianne Moore) is fantastic.
Jacki Weaver: "Animal Kingdom": Weaver gets the nod for the scariest character of the year as the matriarch of the Cody clan in this extremely unglamorous Australian gangster flick, and once you see it, she will be burned on your brain (and quite possibly your nightmares). Coming to DVD on Jan. 18.
Emma Stone: "Easy A": A silly movie? Sure. But also extremely funny, and at the center of it, Stone is a bundle of comedic energy that never stops running through it. Expect her to make a big breakthrough next year in something more serious, as Eugenia "Skeeter" Phelan in the movie based on Kathyrn Stockett's entertaining bestseller "The Help."
Ensemble award: "For Colored Girls": Tyler Perry's movie based on the play by Ntozake Shange is more than a bit of a muddled mess, but his love for black women still shines through in the performances he managed to pull from his large ensemble cast of talented women. Best are Kimberly Elise, Tessa Thompson and Phylicia Rashad as the busybody at the center who ties it all together.
And there you have it. Like I said, please feel free to add anyone I unintentionally snubbed, and have a passable Tuesday. Peace out.
Wednesday, October 27, 2010
Rather than thinking about a workday Wednesday, I've got Lisbeth Salander on the brain
You'll have to forgive me if I have Stieg Larsson and his "Girl" novels just tattooed on my brain at the moment.
You see, since the last Harry Potter novel, I haven't bothered to take on a 700-page novel until now, and Larsson's "The Girl With Who Played With Fire" has drained a lot more out of me than I could have imagined it would, but with the end finally just a tantalizing 15 pages or so away and in sight later today, I can say it's been well worth it, because it's just a first-rate police procedural with the benefit of starring - without exaggeration - one of literature's greatest heroines of all time in the goth hacker extraordinaire Lisbeth Salander.
I don't know how soon I'll have the energy to take on the the final chapter, "The Girl Who Kicked the Hornet's Nest," but coincidentally enough (and not at all by design), I've managed to finish up "The Girl Who Played With Fire" just as the Swedish movie made from it hits DVD, and I can assure you it will be on my weekend viewing slate in some form. In fact, I just checked, and it's available from Netflix streaming, so right to my brand new Blu Ray player for Saturday night. Huzzah!
I was surprised to find that the first two Swedish movie installments were helmed by different directors, because if you haven't seen Niels Arden Opley's "The Girl With the Dragon Tattoo," starring the unforgettable Noomi Rapace as Lisbeth Salander, it's a thriller so good that it really stands alone as an example of how to flawlessly transfer a great novel into a great movie thriller. Rent them both this weekend for what I guarantee will be a wicked good viewing time.
The sequel coming this week was directed by someone named Daniel Alfredson, who also stuck around to direct the upcoming third and final chapter "The Girl Who Kicked the Hornet's Nest" (though there are all kinds of rumors swirling about a posthumous Lisbeth Salander coming out - stay tuned for more on that as soon as I hear it.)
And there's news, appropriately enough for Halloween week, about Opley being offered by CBS Films a project that could turn into a super horror movie.
The studio has bought the rights to Jennifer Egan’s 2006 best-seller "The Keep," and is in final negotiations to acquire the adapted screenplay written by "The Skeleton Key" scribe Ehren Kruger.
So, what's it about? Well, according to what I've read, it's "a story within a story about two cousins with a shared secret who reunite to renovate a legendary haunted medieval castle that turns dreams and nightmares into reality."
That could easily turn into high cheese or something truly creepy in all the best ways, and after watching what Opley did with "The Girl With the Dragon Tattoo," I'm betting on the latter. Definitely stay tuned for more on this as soon as I can find it.
OK, that's really most of what I have time for this morning, but since Zach Galifianakis is now rumored to be one of the humans getting a cameo in Jason Segel, Nicholas Stoller and James Bobin's "The Greatest Muppet Movie Ever Made," it made me think of this OK Go video which is pretty easily the funniest Muppet clip I've encountered in recent years. All I'll say is that it's a staring contest between OK go drummer Dan Konopka and Muppets drummer extraordinaire Animal. Who wins? You'll have to find out yourself, and it's well worth watching. Enjoy, and have a perfectly passable Wednesday. Peace out.
Thursday, September 30, 2010
Ben Affleck may finally be ready to move onto a new "Town"
Though I wanted to love Ben Affleck's "The Town," I could never really quite get there for several reasons.
First of all, the story is familiar to the point of being tired. And though it's extremely well shot, the body count in those slick action scenes should have been in the 100's (it's just a movie, I know, but with the way Jeremy Renner was spraying bullets around, it just didn't even come close to adding up.)
But what it really left me with was the sense that, even though the best strength of "The Town" is its very strong sense of place in Boston's Charlestown neighborhood, perhaps its time for Affleck to finally branch out from his home turf as a director.
Well, Warner Bros., apparently has the same idea, and has now offered him the chance to direct something called "Tales from the Gangster Squad."
Adapted from a series of LA Times articles, the movie will explore the true story of a secret "off the record" police task force that went after Meyer Harris "Mickey" Cohen, a high-profile gangster who was a member of the "Jewish Mafia" in the 1940's. The screenplay has been drafted by former LA cop and novelist Will Beall.
Still a crime movie, obviously, but that's just fine with me, because Affleck has proven much more with "Gone Baby Gone" than with "The Town" that he has a sure hand in directing crime thrillers, so here's hoping he takes this rather epic-sounding one with a welcome change of scenery.
After that today, there are just a couple more tidbits about directors whose work I almost always enjoy, including one who hasn't managed to make a feature film in about 12 years or so.
Before that comes word that David Fincher has now seemingly filled all the major roles in his still thoroughly unnecessary but could be quite good remake of "The Girl With the Dragon Tattoo." The latest addition is Christopher Plummer as Henrik Vanger, the patriarch of the mysterious Vanger clan who hires Mikael Blomkvist (Daniel Craig) to investigate the Vanger family's secrets and track down his missing great-niece.
The biggest shoes to fill of all will be Rooney Mara, pictured here, stepping in to the titular role of Lisbeth Salander, already played to perfection by Noomi Rapace in the Swedish original by director Neils Arden Opley, but I think she'll do just fine. Round out the cast with Stellan Skarsgard as Martin Vanger and Robin Wright as Blomkvist's editor, Erika Berger, and you've got something that shapes up just about the same as Matt Reeves's "Let Me In," which has been receiving almost uniformly good reviews so far: A well-made movie with a sensational cast that, in a perfect world, probably shouldn't exist at all, because there's really very little room to improve on the original work it's based on.
Even so, I'll certainly turn out due to curiosity if nothing else to see what Fincher makes of all this, which is filming now in Sweden. (And if you want to see a first-rate, cerebral but truly brutal thriller, the original "The Girl With the Dragon Tattoo" is now both out on DVD and also streaming at Netflix, so watch it!)
And finally, does anyone remember Whit Stillman? Probably not, but with his very witty debut "Metropolitan" and then two lesser but still good followups, "Barcelona" and "The Last Days of Disco," he seemed to have a fairly flourishing indie movie career before pretty much disappearing after the latter's release in 1998.
He's tried to make several comebacks since that have fallen apart, but it looks like he finally really will return this time, with his "Damsels in Distress" having already started filming. Here, according the always reliable The Playlist, is what it's all about:
[Damsels in Distress] centers on a group of college girls who take in a new student and teach her their own misguided ways of helping people. Lily, a new student at Seven Oaks University, winds up filling in with a dynamic and highly individualistic group of girls, addicted to the elegance of the past: Heather, Violet and Rose all volunteer at the campus Suicide Prevention Center, convinced that musical dance, sharp clothes and good hygiene — the Dior perfume “Diorissimo” is their trademark — can all contribute to staving off the inevitable self-destructive impulses that follow hard on the heels of failed college romances. Despite their sophisticated talk and savvy use of perfume, the girls are plagued by Cupid’s arrows and must adjust their psyches to the onset of amour. [The Playlist]
As silly as all that sounds, it also sounds like just about the perfect milieu for the kind of sharp comedy of manners Stillman used to specialize in when he was able to work regularly. Greta Gerwig of "Greenberg," which I haven't seen, is apparently playing the role of Violet, and she will apparently be the closest thing to a star in this, assuming it really does come together.
And with that, I have to go now to the job that still somehow manages to pay me enough to keep the lights on. Peace out.
