Thanks to a (front page?) article on Nikki Finke and Deadline Hollywood Daily in today’s New York Times, the much-derided, much-feared entertainment journalist is getting quite a lot of exposure, just in time for her transition to her new home at Mail.com Media. Also courtesy of the profile, written by David “Carpetbagger” Carr, we now learn that Finke’s deal with Mail.com is closer to $5-10 million rather than the $14-15 million being reported last month.

As if that wasn’t enough excitement for female film journalists today, we also found out that Anne Thompson, formerly of Variety, will now park her Thompson on Hollywood blog at indieWIRE (an official announcement is forthcoming). Meanwhile, though less film-related than the other two women, gossip magazine editor Bonnie Fuller is set to head Mail.com’s Hollywood Life. I don’t think we’ve seen this much girl power in one industry since the Spice Girls took the music world by storm.

Anyway, all I can say is that I wish them all luck and look forward to continuing to read their stuff (okay, this statement only includes Finke and Thompson) at their new homes. Now, let’s see what the rest of the film blogosphere has to say about the ladies after the jump:
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Only a handful of people were in attendance for last night’s world premiere of blogger/filmmaker Sujewa Ekanayake’s new documentary Indie Film Blogger Road Trip at NYC’s Anthology Film Archives. Apparently most fans and writers of blogs had better things to do, such as read and write posts on the internet. Because really, what is the point of watching a film about writers about films? The only thing more unnecessary and inwardly spiraling — obviously I’m guilty of it here — is blogging about a film about bloggers about film.

Even with the film blogosphere’s reputation for insularity Ekanayake’s doc has no purpose, because its subject matter and content are already well documented on blogs. And anything new that might be discussed, any new questions that might be raised would also be more appropriately written about on the web. The film’s largest offense, though, is that it doesn’t even seem to have an intended purpose. It does not actually attempt to offer anything new to the discourse on film blogging. Nor does it have any sort of cohesive thesis regarding any preexisting discourse. The doc is simply a series of long, mostly uncut interviews with film bloggers. It’s not even necessarily a sufficient profile of the film blog community, in a “Meet the Bloggers” kind of way.

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indieWIRE polled a number of critics and bloggers (including yours truly) on their favorite films and performances at this year’s Sundance, and the results are in: the pros think the jury and the audience got it right in selecting Push: Based on the novel by Sapphire as the best narrative feature at the festival. I didn’t see that film (Paul did the review, and Eric Kohn interviewed Mo’Nique for us), and in general my ballot included a few films that didn’t make the consensus cut; I’ve pasted it after the jump if you want to take a look-see.

indieWIRE also posted some anonymous comments from participants, including one which I think I mostly agree with in sentiment, but which still irks me a bit:

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I was pleased to be asked to participate in indieWIRE’s post-TIFF critics poll, through which consensus selected Hirokazu Kore-Eda’s Still Walking as Best Film, Mickey Rourke (The Wrestler) as Best Performance, and Les Plages d’Agnes by Agnes Varda as Best Doc. Unfortunately, I didn’t see any of those movies, but the three titles I named as my favorite films of the fest all made the poll’s top ten: Summer Hours, Rachel Getting Married, and Treeless Mountain. For Best Performance, I named Treeless‘ Hee Yeon Kim, Mathieu Almaric from A Christmas Tale (maybe technically a Cannes film, but he still blows most of the competition out of the water, as far as I’m concerned) and Matthew Newton, director/writer/star of Three Blind Mice. I didn’t see as many docs as I would have liked (I guess I’m saving them for the fall season of Stranger Than Fiction, programmed, like TIFF’s Reel to Reel, by Thom Powers), but by far my favorite was Blind Loves.

We still have a bit of TIFF coverage in the can for posting over the next few days, BTW. Look for interviews with Jonathan Demme, Anne Hathaway, Ari Folman and more by the end of the week.

Michael Tully does alittle bit of everything. He’s a musician. Journo/blogger/critic. Oh, and he’s directed a pair of acclaimed films, the down and out on drugs in Jacksonville narrative Cocaine Angel and the David Berman rock doc Silver Jew, which will be released on DVD next week by Drag City. Michael is currently the editor of the indie film criticism blog Hammer to Nail, creator of indiewire’s Boredom and Its Boredest blog and occasional contributor to Spout and Filmmaker Magazine. Here’s his take on why The Wire is our young century’s greatest artwork, what’s so special about Max Richter and just how tough it is to get the rights to Richard Yates stories. …Read more

Another independent film conference, another major missive diagnosing the state of the industry and the drastic need for filmmakers and distributors to shift gears in order to follow the changing needs of consumers. The above chart is attached to part one of a report at indieWIRE by distribution consultant Peter Broderick, published today to coincide wit the launch of Independent Film Week here in New York. Broderick says Mark Gill (the man responsible for associating the current trend of indie film hand-wringing with the phrase “the sky is falling”) was looking at the state of the industry “from the perspective of a seasoned Old World executive.” Broderick says he comes instead “from the filmmaker’s perspective,” and proceeds to layout ten binary oppositions between the Old World and New World of film distribution.

I’m already buried so deep in conversations online video, alternative marketing, the new self-distribution, etc, that much of what Broderick says seems so obvious that I really can’t come up with an immediate response. So: look at the chart, read the story, and tell me what I’m supposed to think. Thank you.

• Is Bruce Wayne, as John Carney wonders at Dealbreaker, “exactly the ‘better class of criminal’ that the Joker describes”? Spoileriffic analysis of Batman’s white-collar misdeeds follows.
• Mike Jones weighs in on the sale of indieWIRE to SnagFilms. “Despite the owners’ (which included myself, to a very small extent) desire to sell under the right terms, indieWIRE seemed destined to be independent.” Buuut…”The difficult truth about being independent is that it’s mostly for the young.”
• Glenn “Lists are Bullshit” Kenny offers 14 numbered thoughts on Mamma Mia! He begins by contemplating “the comingled semens of Pierce Brosnan, Stellan Skarsgard, and Colin Firth competing in the fallopian tubes of Meryl Streep”; he ends with the admission, “I kind of want to have sex with Christine Baranski.”

We’ve been running into a really exciting company at festivals called SnagFilms (snagfilms.com). Today, they launched their beta site with a slate of over 270 free documentaries, many of them full-length. The next few weeks the library should increase to 400. They’ve also acquired the perennial news source for independent film, indieWIRE, which will be SnagFilms editorial voice for these unsung gems that would probably otherwise languish on the festival circuit.

Many of the docs available were featured at the SXSW Film Festival, like award winning audience favorite of SXSW 2006, Darkon. Watch it. It’s free. (It feels so good to write that.)

UPDATE: I just found Heavy Metal in Bagdad on SnagFilms! Probably the movie Karina was championing most last year. Oh boy. I know what I’ll be doing tonight.

• A little film called The Dark Knight opens tomorrow tonight, and it’s so highly anticipated and it has received so much positive buzz that one expert is predicting it could gross anywhere between $100-150 million. I’m going to to do him one better and broaden that gap further to $100-900 million. Good thing this isn’t The Price is Right.

• Will Ferrell will play a racist who develops a split personality in Two Face (no relation to the character in The Dark Knight), scripted by Vince Gilligan, the guy who gave us that recent drunk, swearing black superhero.
• And speaking of down-on-their-luck, alcoholics, Jeff Bridges will play one — a country singer, though, not a superhero — in the T Bone Burnett-scored musical Crazy Heart, which will also star Maggie Gyllenhaal and Robert Duvall.
• John Woo is known for announcing about 20 new directing gigs a year, so don’t get too upset if he doesn’t actually end up helming the comic book adaptation Caliber.
• That was quick: Screen Gems is already making a Colombian hostage rescue movie.
• Can we expect a whole new marketing strategy for Tom Cruise’s Valkyrie? United Artists has just hired a new chief of marketing and publicity, Michael Vollman from Paramount, to replace the resigned Dennis Rice.
• Documentary site SnagFilms has acquired indieWIRE. Congrats and good luck to our SpoutBlog friends at iW, including Eugene Hernandez, who has a new position and will oversee content on both sites.

A giddy-seeming Madonna leaked details of her future filmmaking plans, in an interview with indieWIRE posted yesterday:

“I have other ideas swirling in my head,” Madonna said coyly when asked what else is on tap. For now she also has a new doc, “I Am Because We Are,” that will make its way around the festival circuit this Spring (apparently with stops in Tribeca and Cannes). She is also prepping another feature that she hopes to direct. It will “take place in New York, London and Paris,” she said of the new project, before quickly turning to her publicist, and smiling, “Oops, I don’t know if I should have said that.”

See also: the Spiegel interview above, in which Madonna comes precariously close to making a “Like a Virgin” reference when assessing the rush of bringing her directorial debut to market. If I was Madonna, I’d unleash direct “Like a Virgin” references in interviews all the time––not only would it be good for back-catalogue sales, but I think I’d feel the need to remind everyone that my whole career, the whole reinvention gambit, is all about being “touched [as if] for the very first time.”

I don’t actually sit around and think about what I would do if I were Madonna. Really. I swear.

indieWIRE has released the results of their annual critic’s poll for the best undistributed films of 2007, and Ronnie Bronstein’s Frownland has made the top ten. The Gotham award winner received seven votes, the same number as Abel Ferrara’s Go Go Tales, which is interesting for a number of reasons. For one thing, Ferrara and Bronstein were two of just three American directors to make the Top Ten. For another, in the case of both films, whether or not they’re actually undistributed is basically a question of semantics.

I first heard that IFC had acquired Go Go Tales back at the New York Film Festival in September, and have heard a number of confirmations of that rumor since. Anthony Kaufmann even references those whispers in his indieWIRE write-up of the poll, noting that “for now, [Go Go Tales is] still technically available.” It basically gets to keep its place on the list because IFC hasn’t yet issued a press release.

Meanwhile, Silent Light earned 20 votes in the poll, which would have been good enough to tie for second place…had the film not been disqualified because Tartan quietly acquired U.S. distribution rights last month. I certainly didn’t get a press release about that––I’ve got to be one of the film’s most vocal supporters, and I didn’t find out about the deal until a month after the fact. Frownland, meanwhile, has distribution in France, and due to the number of North American film festivals where it’s played, it’s probably been seen by more non-critics on this continent than the film ranked right below it on the list, Nick Broomfield’s Battle for Haditha.

This is not about me fronting like Silent Light deserves recognition and Go Go Tales (which I’m on the record as having loved) does not, nor am I trying to argue with the rules of this particular poll. But it does seem like proof positive that not only is the line between “distributed” and “undistributed” getting a lot murkier, but the idea of distribution-as-victory is maybe not all it’s cracked up to be.

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Late last Friday, I got an email from indieWIRE’s Eugene Hernandez, pointing me to this, an “open letter” from film producer/professor John Pierson to his former friend and colleague, Sicko director MIchael Moore. I was traveling at the time and didn’t get a chance to read the letter until today. An exemplary excerpt:

You’re on the side of the fucking angels with SiCKO and no lapses, omissions or oversimplifications can detract from its contribution to the greater good. But please baby please, let the movie, which you have so beautifully made, do the talking.

My instant reaction was that Pierson’s letter, which is in some ways meant as propaganda in favor of Manufacturing Dissent (the pseudo-expose of Moore in which Pierson appears, and which recently provoked an expletive-laced reaction from its subject), managed to put forth the arguments made in that film with a clarity and aggression sorely missing from the film itself.

Still, as Agnes Varnum points out, why would Pierson suddenly feel the need to order Moore to “get out of the way”? And considering Sicko is already the least Moore-centric Michael Moore film in a good long while, what would that even mean? “I asked Eugene why this letter now? What bug is in Pierson\’s britches? He let me know that there was an article in the LA Times that might have caused some bristling.” Varnum then goes on to read that LA Times article and conclude that Moore “is as phony and as hypocritical as they come.” Point: Pierson.

If you haven’t yet, you really should read Pierson’s missive in full. Make sure to scroll down to the comments, where Pierson and a Moore supporter beat the “did Moore really interview Roger Smith?” dead horse for a couple of rounds, before other commenters (most apparently in opposition to Pierson) begin to debate the importance of fact vs. fiction within the context of documentary filmmaking. Though he’s certainly not explicit about it, I think you could argue that the letter is Pierson’s acknowledgment that, as Dissent seems to be in no danger of receiving a release to rival that of Sicko, the internet might be the only place for that debate.

More on Spout:

Sicko
Manufacturing Dissent
Roger & Me

Could there be more chatter out there about Wong Kar Wai’s new film, My Blueberry Nights, which opened the Cannes Film Festival? I doubt it. It’s strange, because I’m not even convinced that people think it’s a great film, but it sure has created a lot of buzz. (Maybe it has something to do with how long people had to stand in line to get in and how many people got turned away and what color their film festival badges were…or it could have more to do with the acting debut of Norah Jones?)

Erica Abeel from the Filmmaker Magazine blog sums up what most people seem to be saying: “…it seems almost sacrilegious to report that “Blueberry,” the Hong Kong auteur’s first English-language production, and his first film set and shot in the U.S., is gorgeous to look at, but not a helluva lot more. In fact, the screening in the packed Salle Debussy was greeted with only a smattering of anemic applause.”

Similarly, from Cinematical: “My Blueberry Nights is so beautifully shot, though, that you’d be excused for thinking that the quality of the performances is almost irrelevant; each scene is a symphony of color and light, each frame exquisitely shaped by the play of pigment and shade. New York is caught in blue, wintry tones; Memphis in deep, relaxed browns; Nevada’s casinos come alive in jittery crimson. It’s too bad that we can’t quite believe in the characters within those gorgeous visions, though.”

And I found this opinion interesting, from Isabella Ho, a film scholar from Taiwan. She observes that two accomplished Asian directors–Wong Kar Wai and Hou Hsiao Hsien from Taiwan–are at Cannes with their first films not shot in their native languages. It made me think of Alfonso Cuaron (Children of Men) and Alejandro Gonzalez Inarritus (Babel), both Spanish-speaking filmmakers with big 2006 hits in English. (I wrote a post a few months back about all the attention being given to Mexican cinema.) Here’s what Isabella Ho has to say:

“I think it’s very sad that these directors are driven to make movies outside their home countries and in other languages,” said Ho, a representative of Taiwan film distributor cum production company CMC. “Their home audience doesn’t seem to appreciate the stories they are trying to tell.”

Is it sad? I can see sad aspects about it, but I don’t know if they outweigh the benefits of Wong Kar Wai being able to just make the film he wants to visually make. After all, it sounds like My Blueberry Nights could be a movie to watch with the sound on mute, anyway.

You can read even more about My Blueberry Nights here on indieWIRE, here on GreenCine Daily, here on the Filmmaker Magazine blog, and here on the Risky Business blog.

Open up your “Movies I Want to See” list at Spout and get ready to add these–indieWIRE’s top 10 from Tribeca. (If you were lucky enough to catch them at Tribeca or another festival, you can write some reviews and let us know if you agree with indieWIRE’s assessment.) Here are the films, and you can read the whole article here. The Reeler also reviewed many of these films for Spout, so check out the links.

1. We Are Together (directed by Paul Taylor)

2. The Gates (directed by Antonio Ferrera and Albert Maysles)

3. 2 Days in Paris (directed by Julie Delpy)

4. Shotgun Stories (directed by Jeff Nichols)

5. In Search of a Midnight Kiss (directed by Alex Holdridge)

6. Rebirth of a Nation (by DJ Spooky)

7. Chavez (directed by Diego Luna)

8. I Am an American Soldier: One Year in Iraq With the 101st Airborne (directed by John Laurence)

9. Half Moon (directed by Bahman Ghobadi)

10. Times and Winds (directed by Reha Erdem)