A number of films that we’ve covered previously on SpoutBlog are either opening or expanding this weekend:
Across the Universe: Julie Taymor’s Beatles musical has grossed almost $9 million over the last month in limited release, mainly drawing (as I predicted) repeat crowds of young women. The weekend, it expands to just under 1,000 screens. I’m not personally much of a fan, but I figure every generation of teenage stoners-cum-theater brats need a Hair, and I can’t begrudge them that. Read my Toronto coverage here.
Control: I was a big fan of Anton Corbijn’s Ian Curtis biopic at Toronto. In hindsight, I do wonder if the film will fall flatter for those who don’t go in with an emotional attachment to Joy Division’s music. But it’s still a fascinating character study, and of course, the cinematography is tremendously satisfying. Read my Toronto review here.
Elizabeth: The Golden Age: Destined to become some kind of camp classic, this sequel to 1998’s Elizabeth is artless at concealing its Freudian metaphors in a way that only truly miscalculated films can be. At Toronto, I wrote: “The Golden Age plays out in a very binary, comic-book reminiscent universe, in which Spain isn’t merely a sovereign nation pursing interests in conflict to that of Britain–the country as a whole is a supernatural embodiment of evil…The Queen is able to bounce from emotional devastation to patriotic warmongering with a flick of a switch; for the rest of us, the transition may not be as easy.”
The Darjeeling Limited: Another shot of crack for fans of Wes Anderson’s visual style, but with a stronger emphasis on character than some of his recent outings. If the idea of a film revolving around a set of limited-edition Marc Jacobs luggage sounds really annoying, this may not be the film for you. But watch the short-film prequel, Hotel Chevalier, on iTunes, read my coverage from NYFF, and if your Anderson allergy hasn’t yet flared up, go see the movie.








Two of this year’s Oscar winning films were sequels. And only two Oscar-nominated films are officially slated for sequels. But only one film fits both of these truths.


