In Woody Allen’s Whatever Works, Larry David plays what most people refer to as “the Woody Role.” This means that he’s filling in for Allen, who for whatever reason is showing up less and less in his films these days. But the Woody Role isn’t merely about a substitute actor starring in place of Allen, it’s often also about that performer channeling the Woody character, that neurotic persona that too many viewers believe is Allen’s true self (as if he’s simply playing himself onscreen in what are also believed to be generally autobiographical works).

David’s performance as “Boris Yelnikoff” in Whatever is not completely Woodyesque, but only because David has his own familiar neurotic onscreen persona that is very separate from — though sometimes complimentary to — Allen’s. And yet he does still come across as a Woody proxy due to the fact that he’s speaking (ranting) dialogue written by Allen rather than improvised (as in Curb Your Enthusiasm).

A number of other actors have served as Woody surrogates, some better and some worse, including a few unofficial proxies in films/series not written or directed by Allen. We list them in order from bad to best after the jump.
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An addendum on this post noted that War, Inc, the satire co-written by and starring John Cusack which I loathed but which has become something of a surprise spring hit, was scheduled to come out on DVD tomorrow after just seven weeks in theaters. I wrote:

War Inc['s DVD release] is notable only because First Look’s ridiculously tight seven week window from theatrical premiere to DVD street date looks, in retrospect, like another in a line of smart moves designed to capitalize on the film’s surprise cult appeal. Of course, the film’s box office potency faded as its release expanded, and if it had done less well in its first weeks, this would look a lot like a dumping, but that’s fodder for another, far more bitter post…

Ah, but then the target moved: shortly after that post was published, I got an email from David Hudson informing me that the film’s DVD release has been bumped to October. …Read more

Now that War, Inc has topped the specialty box office two weeks in a row, using the unfunny “incendiary political cartoon” (the poster’s words, not mine) as a stick with which to beat the “critics are irrelevant!” dead horse has become the new hotness.

“Despite the negative reviews, I found War Inc. innovative and subversively ironic,” Vicky Ward writes at Vanity Fair.com. Noting that Cusack was able to cull poster quotes from like-minded famous friends such as Arianna Huffington and Diablo Cody (the latter’s a new development, as she apparently hadn’t delivered her blurb as of the taping of this clip), Ward positions the success of the film as an instance of “the audience” rising up against the bullies of the critical establishment:

Yeah, I don’t know about that. …Read more

According to indieWIRE, the John Cusack satire War, Inc made an impressive $45,714 on two screens in its opening weekend. Not exactly Iron Man numbers, but a much higher per-screen average than any other film in limited release. For the sake of perspective: Indiana Jones and I’m Vaguely Certain Shia La Beouf’s IMDb Profile Exaggerates His Height made less than a thousand dollars more per screen in its by all accounts sufficiently massive opening weekend; Cusack’s last film, the also war-themed Grace is Gone, made just $50,899 in its entire theatrical run.

So this a victory for indie film, right? Yay! Except, of course, that the movie’s abysmally bad.

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Artist on Artist: John Cusack and Diablo Cody

There’s a really strange moment in the above Artist on Artist video with Diablo Cody and John Cusack, where Cusack is all, “The mainstream media don’t understand my my shitty war satire movie, so I gave Liz Phair a copy and she gave me a blurb for my website,” and Diablo’s all, “Uh, yeah, I’ll give you my quote soon,” and she has this look on her face like, “Shit, people are actually doing that? Liz Phair’s actually doing that? I have as big a crush on Lloyd Dobbler as anyone but … seriously?” Maybe we like Diablo Cody better than we thought. Although this does come right after she says something about how blogging=good because “you don’t have to contend with The Man,” which is about as fresh a sentiment as any in War, Inc, so maybe her pullquote really *is* on the way…

War, Inc is a debacle. Starring, co-written and produced by John Cusack, it’s an impotent, cheap-looking political satire that longs for relevance, but feels years stale. (It has, in fact, been around for awhile––it was once titled Brand Hauser, it went into production in fall 2006, it was rumored to have been set up for premiere slots at both Toronto 2007 and Sundance 2008, neither of which, for whatever reason, ever happened.) It’s a sign that Hollywood filmmaking about the current war and its associated politics has fatally passed over from merely irrelevant preaching to the choir, to a kind of solipsistic naivete that should make anyone with an intellectually-rooted anti-war position feel embarrassed to have their politics associated with it. War, Inc personally makes me want to put my head in my hands in shame. The Left deserves to be mocked as much as the Neo-Cons, but nobody deserves to have their reputations sullied by indefensible garbage like this.

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There are a number of accomplished actors who have worked with infamously bad filmmaker Uwe Boll: Sir Ben Kingsley; Geraldine Chaplin; Clint Howard. And many of those actors have worked with some great filmmakers. Yet who would think to ask Kingsley how Boll compares to Spielberg or Polanski, or Chaplin how Boll compares to David Lean or Robert Altman, or Howard how Boll compares to his brother Ron. Well, Shawn Adler of MTV Movies Blog decided that it would be really amusing if he asked Leelee Sobieski to comment on any similarities between Boll and Stanley Kubrick. Surprisingly, she managed to squeeze out a decent answer — at least considering she’s on camera to wholeheartedly promote her and Boll’s film In the Name of the King: A Dungeon Siege Tale and has to say something nice about the director.

Sobieski may not be the best person to ask, though. She was only 15 when she appeared in Kubrick’s Eyes Wide Shut, and that film isn’t even considered to be on par with the filmmaker’s regular work. Still, she obviously understands the clear distinctions between “the greatest filmmaker of all time” and “the worst director of all time,” as Kubrick and Boll are respectively labeled, and she gives a good response in saying that both ask a lot of questions and both deserve respect for getting things done and not being lazy. As for the rest, its a cop-out, though a good save publicity-wise, but still makes perfect sense as an apples vs. oranges kind of comparison. Even Kingsley, who has been in his share of terrible films (only one of which is Boll’s Bloodrayne) and likely has to defend his choices all the time, would probably say something along the same lines as Sobieski’s claim that people want to be stimulated in a “plethohra” of directions and that there’s room for intellectual films and “great” action movies.

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• Harvey Weinstein said he’d shoot himself if Cate Blanchett doesn’t get an Oscar nomination for I’m Not There. Has he already forgotten?
• Eli Roth wants to do sketch comedy. Seriously.
• Lance Weiler has a new web series.
• Asia Argento: The next Marlene Dietrich?
• What works for the queer blogosphere doesn’t necessarily sell a blockbuster in Korea.
• Netflix has hired Dana Carvey to star in a crappy web series.
• If you have a recent picture of yourself in a costume and can make the appropriate value judgements about John Carpenter flicks, you could attend Harry Knowles’ 24-hour film festival.
• Film theorist Rudolf Arnheim died, but commenter Marco didn’t have anything to do with it.
• Fox is showing a lack of confidence in Parker Posey’s sitcom debut.
• YouTube is getting ready to launch a tool that will spoil the party for mashup artists.
• Kevin on Ultimate Blogger, possibly the web’s first reality show.
• John Cusack talks about playing an Iraq war supporter in Grace is Gone.
• If Will Ferrell barely has time to make content for FunnyOrDie, how is Judd Apatow gonna manage it?
• You can download a free issue of Film Quarterly that includes out takes from the script of Mark Rappaport’s From The Journals of Jean Seberg. I read them on the subway and they were awesome.
• Disney denies they’ve fired Vanessa “nudie pic” Hudgens from their flagship tween franchise. Here’s three reasons why they shouldn’t change their minds.
• Find out what *really* happened to the couples of Say Anything, Pretty Woman and The Princess Bride after the end credits.
• Thanks to a recent rule change, Silent Light is eligible for an Oscar.
• Robert Rodriguez’s Barbarella remake is in trouble, for a myriad of (mysterious, half-probable) reasons.
• Newsflash: Michael Moore blogs about himself. A lot.
• Should George Lucas try to hit the YouTube generation by making content for YouTube?
• Kimberley Pierce’s Stop-Loss has been infuriating critics for months, and the trailer only premiered yesterday.
• A tour through Warner Brothers’ recent marketing blunders.
• Think Tyler Perry’s a hack and Judd Apatow’s a genius? Armond White says that’s because you’re white.
• On FilmCouch: Paul and Kevin mull over Mike Mills’ depression in Japan doc Does Your Soul Have A Cold? and finally got around to seeing The Assassination of Jesse James by the Coward Robert Ford — no thanks to Warner Brothers. And Karina tries to explain why a four hour Tom Petty documentary directed by Peter Bogdanovich makes perfect sense.
• After you listen to the podcast, you can read more about Peter Bogdanovich.
• Wristcutters: A Love Story’s road to theaters was much more of a slow bleed than the film itself.
• Is there really going to be a Brokeback Mountain sequel, or is OK! Magazine now just making stuff up for their own amusement?
• CIFF red carpet coverage: John Cusack, Mos Def & Jeffrey Wright, Anthony Hopkins, Malcolm McDowell,  Laura Linney

Adam Kempenaar from Filmspotting sent us excerpts from a roundtable discussion with John Cusack at the Chicago International Film Festival. Cusack discusses Grace is Gone, a new movie where he plays a widower taking his daughters on a road trip after learning his wife was killed in Iraq. If it sounds like this role is off-type for him, it is. Especially when you consider that the 80’s most swooned over slacker’s main draw was to “get into the head of a real believer, someone who has put a lot of his energy and time and faith into needing to believe that the country has a righteous purpose…”

Thanks to Adam Kempenaar for the coverage. His highlights with John Cusack follow after the jump.

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The Weinstein Company has apparently bumped the release date of Grace is Gone from October to December, and our favorite hyper-reactionary conservative film blog, taking a cue from the New York Post, says it’s a victory in the War on Terror.

In this post on his NYP movie blog, Lou Lumenick speculates first that the move might have something to do with the fact that the film was rejected from the New York Film Festival, which would have ostensibly given TWC a medium-profile platform from which to roll out the film in October. Lumenick (who is enough of a fan of Grace that his endorsement appears at the top of the film’s poster) then tosses out the possibility that Harvey Weinstein may have bumped Grace in reaction to “the soft opening numbers” of Paul Haggis’ In the Valley of Elah. It’s that suggestion that engenders this quip from Libertas: “Wouldn’t it be nice to think that every studio holding some vanity pro-Al Queda movie is right-now-as-I-write-this trembling at the inevitability of the red ink coming?”

Maybe that would be “nice,” but the thing is, Grace is about as far from a “vanity pro-Al Queda movie” as you can get.

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Burning Man, the infamous annual week-long neo-hippie desert sojourn, is partnering with a number of corporations in the name of getting green. Predictably, this has ruffled a few feathers, as it seems to fly in the face of at least one or two of Burning Man’s core principles.

Brian Doherty, who literally wrote the (or, at least, a) book on Burning Man, says the problem lies in the fact that some members of the Burner community have watched a certain Cameron Crowe movie a few too many times. To quote liberally from an article published today at Reason Online, titled “Generation Dobler”:

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