I’m not going to offer any argument in the debate over Roman Polanski, who was arrested in Zurich Saturday for a crime that’s older than I am (by 10 days). I’m just going to let this be a straight roundup of blog commentary related to the case, particularly to the divisiveness of support and anger sparked by the arrest and threat of extradition. It was enough that everyone had an opinion on the web yesterday concerning the topic, now it’s time for everyone to lash out against those who disagree with them, especially against the many film industry heavies who’ve signed a petition (and others rallied by the journal La Règle du jeu) asking for Polanski’s release.

Feel free to comment with your own arguments below, but only if you’ve seen the documentary Roman Polanski: Wanted and Desired. See the film even if you don’t wish to share your opinion, though, especially since there’s now a very good possibility we’ll be getting at least one sequel to the doc in the future.

Check out the film blog responses to the Polanski “culture war”* after the jump:

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Twitter hasn’t “verified” her account so it could be a fraud, but here’s hoping that this really is Hollywood legend Lauren Bacall mixing it up on the Twitters. It’s plausible — if you condensed the bitchy, dishy voice of her autobiography into 140 character missives, this Twitterstream is what it would look like. My ten favorite moments of her Twitter career thus far:

10. When she posted the Twitpic of her walking out of Max’s Kansas City en route to Studio 54 to meet “Mr.Warhol and Mr.Nureyev”.

9. Her response to people complaining about her lit cigarette in said picture, spread out over five tweets, including this commentary on the perks of old age: “The good thing about being 84 is that I can smoke as much as I want, If I was smoking 2 packs a day on the set of To Have and Have Not…..when I was 19 and I am still around 65 years later I can continue smoking as much as i want.”

8.  “in LA to discuss with Mr. Scorsese his Sinatra biopic in the works, I wonder who he is going to cast to play me.Who would you guys cast?”

7. Bacall says she’s been offered a role in Quentin Tarantino’s new film opposite Christina Ricci, Christopher Walken and Dennis Hopper, in which she would play “the villainess.” “I have never been offered to play a schitzophrenic Russian heroin addicted Kidnapper’s mother before. haha.” Haha indeed.

6. Her first tweet: “I can’t get this God dam thing to work!”

5. Her bio, in which she plugs her autobiography and astutely namechecks her three best films: “Read my book By Myself and Then Some and watch my movies The Big Sleep, To Have and Have Not and Written on the Wind”

4. When she admits that her granddaughter made her watch Twilight. “she said it was the greatest vampire film ever.After the “film” was over I wanted to..smack her accros her head with my shoe, but I do not want a book called Grannie Dearest written on me when I die…”

3. …”So instead I gave her a DVD of Murnau’s 1922 masterpiece Nosferatu and told her, now thats a vampire film! and that goes for all of you! watch Nosferatu instead!”

2. When she calls out her 19 year old, scotch-addled grandson for hitting on a cater waitress “with Jayne Mansfield size breast and Liz Taylor eyes, men do scumble into the female flesh temptation so fast.”

1. When she then posts a twitpic of said grandson, looking like a complete tool.

Nikki Finke claims Paramount has bumped Martin Scorsese’s Shutter Island from an October 2009 release date to February 2010, for the sole reason that they don’t have enough money to give the picture an awards campaign this year. If this is true it would would sort of make sense, since a) the film hasn’t been slotted into any of the fall film festivals, and b) Paramount is probably all-in, Oscar-wise, on The Lovely Bones. But also: do they really think this is awards bait? Because the trailer makes it look like weirdly generic high-concept horror. Plus, Nikki claims it’s scoring well with audiences — which is more evidence that the Academy wouldn’t give it the time of day.

Via Living in Cinema.

Julia Child’s life is partially depicted in the new foodie film Julie & Julia, and while it’s as much fun to see Meryl Streep portray the famous chef as it was to watch Dan Aykroyd and Bill Cosby do her back in the day, we can’t help but wish the real Child had lived long enough to star in the film herself. We also wish the whole movie was based on her autobiography, My Life in France, rather than share-adapted from both that book and Julie Powell’s blog-turned-memoir Julie & Julia.

There’s a reason Child was a hugely popular TV personality and there’s a reason why Powell was an Internet writer. Just as you’d rather only watch Sean Penn as Gene Shalit in a movie and not bother with Michael Pitt’s portrayal of lowly film blogger Christopher Campbell, you could probably do without the Amy Adams as Powell stuff in Julie & Julia.

Outside of playing herself as a foodie heroine in a chick flick, what other kinds of movies could Child have acted in? Given her OSS background, we would have loved to see her fill in for Judi Dench in the Bond films as M. Alas, that will never happen, but if our gastronomical dreams come true, perhaps we might see one of the following TV personalities in his or her own blockbuster film someday:
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We feel really bad about spotlighting Michael Jackson in three spots on our “Creepiest Kids’ Movies List” yesterday. If we had known he was going to die of cardiac arrest within hours of that post’s publication, we would have maybe limited his presence to one included film, if any at all.

To make up for the dishonor, we now would like to spotlight the connection he had to cinema through his collaborations with great filmmakers. Due to his talent, success and financial status, he was able to work with a number of important directors, both in movies and in music videos. Some were already prominent when MJ hired them; others were strictly music videomakers who would go on to significant feature filmmaking careers. Some collaborations were also better than others, so we’ve ranked them in order from worst to best.
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Thanks in part to the ever-impressive professionalism of Delta Airlines, I didn’t arrive in Cannes until after Martin Scorsese’s big announcement that his World Cinema Foundation (newly executive directed by Kent Jones, who collaborated with Scorsese on Val Lewton — The Man in the Shadows) is teaming up with Criterion, B-Side and The Auteurs to align the cause of film restoration with emerging models of online film distribution and discussion. And not having much time to read press releases while overseas, I didn’t realize until I returned to New York a couple of days ago that fruits of the collaboration are already tangible: there are currently four WCF films streaming for free on The Auteurs. And not knowing anything about any of the four films, I decided to watch 1964 Berlin Film Festival Winner Dry Summer last night. In trying to sum up the experience of spontaneously watching that film on my laptop, completely blindly without any real knowledge as to what I was in for, two words immediately come to mind: Holy. Shit.

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Here’s some late breaking news today: Martin Scorsese is set to direct a biopic about Frank Sinatra, which is being scripted by Phil Alden Robinson (Field of Dreams). That’s about all that’s known so far, as the project is in early stages. Apparently Scorsese, whose past biopics include The Aviator (Howard Hughes) and Raging Bull (Jake La Motta), has been quietly developing this one for a few years and just recently secured both the life and the music rights.

Now it’s up to us bloggers to fill in the rest with speculation about what it will be called, what it will include and, most importantly, who will play the lead. Most writers are guessing that Leonardo DiCaprio will land the part, but I’m hoping Scorsese concentrates on the later years so that Dennis Hopper can reprise his portrayal from the Australian film The Night We Called It a Day. After all, isn’t it about time Scorsese directed Hopper? They were both in the Scorsese-produced Search and Destroy, but that’s just not enough. At least let Hopper play the old Sinatra after DiCaprio (or Robert Pattinson) plays the young version. And obviously Kate Beckinsale gets to reprise her role as Ava Gardner from The Aviator, right?

Also: if the title is anything other than The Chairman of the Board, I’m not going to see it. So what if it’s too close to a movie starring Carrot Top? It’s time to take the name back for Ol’ Blue Eyes!

Okay, let’s see what the rest of the net is saying about this exciting project:
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Many critics will no doubt rip apart Robert Pattinson’s performance as Salvador Dali in Little Ashes this weekend, but the truth is that it’s a surprisingly good portrayal of the artist. That is to say that given our expectations, combined with Pattinson’s own celebrity, added to the fact that anyone would look ridiculous sporting Dali’s signature mustache (even Dali), the Twilight actor does as well in the role as is possible. Is the performance Oscar-worthy? Certainly not, but it is deserving of some level of praise.

Pattinson’s Dali follows a long tradition of surprisingly good portrayals of iconic figures. Movie stars are constantly cast as famous persons they barely resemble, and often it’s difficult to shake off our identification with the player in order to accept him/her as the depicted individual. Some of these performances are better than others, and most have been honored by the Academy, but each actor and actress listed below either initially seemed like a wrong choice for the respective part or he/she was at least understood to be taking on a difficult task in attempting to portray such a familiar personality.
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Due to the criticism and controversy of an alleged date-rape scene in Observe and Report, we bring you yet another list of sex scenes, this one focused on cinematic moments that stirred protest, censorship, bans and boycotts. Whether groundbreaking for their time or still questionable today, these scenes could probably have been included in our past highlights of films sold on a sex scene and films remembered primarily for a sex scene. But these are not leftovers. Many of them have merits and memorability outside of their “upsetting” depictions of a sexual act, though many of their objectors wouldn’t know since they never actually saw the films themselves.

One disclaimer must be made, because we’re sure commenters will jump in otherwise asking why A Clockwork Orange and other films with controversial rape scenes have not been included. Besides the fact that many readers will argue that such scenes are not rightly labeled “sex scenes,” there’s also the matter that too many films feature gratuitous rape scenes, and most of the time these are met with criticism. Of course, there are also a number of controversial consensual sex scenes that we’ve had to leave out, so feel free to name any excluded titles after reading the list.
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Gomorrah is brutal. That much goes without saying, given the genre. But unlike the more glamorous American gangster movies, which tend to elevate their anti-heroes to aspirational role models, Gomorrah turns that brutality against its subject — the widespread operations of Italy’s Camorrah clan. Like the bestselling exposé that inspired it, Gomorrah is more outraged than impressed by the corrupt world it reveals. To that end, director Matteo Garrone cast coarse, physically revolting adults and shot the film in an almost nauseating handheld style, fleshing out the authentic hell-on-earth locations with the sound of screams and harsh urban noise.

These are not characters or situations anyone would want to emulate, which was important to the director and his team. “Here in the south of Italy, we are living so close to this problem that we have to consider what kind of example a movie can have, especially on young people,” says Maurizio Braucci, who collaborated with Garrone, Roberto Saviano (author of the nonfiction bestseller on which Gomorrah is based) and three other writers. In his book, Saviano is openly critical of Hollywood’s impact on these criminals. He describes one boss who ordered a villa custom-built to the specifications of Tony Montana’s mansion in Scarface, then goes on to explain how The Godfather dictated their fashion sense (pinstriped suits and dark glasses) and Pulp Fiction made them sloppy (by holding their guns sideways, young killers sacrificed aim for style, making executions needlessly bloody and painful).

“I think the problem is that audiences are generally attracted by stories about the obscure part of life,” says Braucci (the English speaker of the bunch). “Gomorrah tries to give a different representation of this world, including such a terrible representation of the criminals – their bodies, the way they walk, the way they talk — that they seem almost like monsters.” Like Saviano (who had to go under police protection a couple weeks into the screenwriting process), Braucci hails from the Camorrah-controlled Naples area, bringing his own research and experience to the adaptation.

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Yesterday, for the second time in two weeks, In Contention’s Kristopher Tapley confessed to being done with 2008 and noted a bunch of anticipated 2009 films. These aren’t necessarily titles he’s looking forward to seeing, though; it’s basically a preliminary jump on next year’s Oscar season. Because apparently this year’s Academy Awards are all but handed out, the winners properly predicted and expected, and now it’s time to think about what will be up for what in 2010. Those titles Tapley lists are Rob Marshall’s Nine, Peter Jackson’s Lovely Bones, Michael Mann’s Public Enemies, Clint Eastwood’s “Mandela“ (formerly The Human Factor), Richard Curtis’ The Boat That Rocked, Scott Cooper’s Crazy Heart and the latest from Terrence Malick (The Tree of Life), Steven Soderbergh (The Informant), Paul Greengrass (Green Zone), Martin Scorsese (Shutter Island) and James Cameron (Avatar).

Oh, and then Jeff Wells had to go and hint that Spielberg’s Lincoln is likely to arrive by year’s end. What and who else is being foreseen as nominated this time next year? Check out the links after the jump.

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• Before getting to that supposed “disappointing” debut of Australia, let me first congratulate Milk for cracking the top 10 while opening on only 34 screens. The film’s five-day Thanksgiving Weekend total gross is $1.9 million, meaning its per-screen average was an unbelievable (and apparently record-breaking) $51,833. Meanwhile, fellow limited-release powerhouse Slumdog Millionaire was kept at bay at 11th place, though its per-screen average continues to amaze at more than $36,000.
• Now for Australia: the film placed fifth for the holiday stretch, taking in less than half as much as box office winner Four Christmases ($46.7 mill.). However, its $14.8 million three-day take is a million more than that of the wide opening for Baz Luhrman’s previous film, Moulin Rouge. Also, its older audience, which had other, more familial commitments last week, will likely show greater interest as the film is out longer, especially if there’s good word of mouth. Most importantly, though, Australia at least didn’t perform as badly as Transporter 3.
• Cheers couple Kelsey Grammer and Bebe Neuwirth will be reunited for MGM’s Fame remake. They’ll play employees of the performing arts high school alongside fellow TV vets Charles S. Dutton and Megan Mullaly, as well as original Fame student Debbie Allen.
• Steve Buscemi and Kelly Macdonald are to star in Martin Scorsese’s new HBO project, Boardwalk Empire, which will depict the origins of Atlantic City.
• And speaking of HBO series, Rome may conclude on the big screen.

• Robert Downey Jr has signed on to star as Tony Stark in Iron Man 2, Iron Man 3, and The Avengers. This, plus his starring role in Guy Ritchie’s Sherlock Holmes, will put the Less Than Zero survivor in at least one summer tentpole per year through 2012. Say it with me: poor, poor Andrew McCarthy.
• Mike Nichols will direct a David Mamet-scripted remake of Akira Kurosawa’s High and Low. Martic Scorsese comissioned the script from Mamet; he’ll now executive produce.
• In an unusual deal, Janus and sister company Criterion Collection have acquired theatrical and DVD rights to Revanche, the Austrian Foreign Language Oscar contender which premiered in Berlin and went on to Telluride. Janus, known for its library of classic art films, hasn’t handled a first-run theatrical release in 30 years.

io9 has confirmed an earlier report that Ridley Scott will direct an adaptation of Brave New World, Aldous Huxley’s classic dystopian future novel. Scott says that Leonardo DiCaprio approached him about adapting the book, and it looks like he will star in the film as well. This is exciting news; not only does it herald the return to science fiction for the director of Blade Runner and Alien, it also means that Leo, who is working on a live action adaptation of Akira, has two dystopian future projects in progress.

Brave New World is one of my favorite books, and Blade Runner is one of my favorite movies, for many of the same reasons, but I’m still having trouble getting excited about this news. Scott’s work on Blade Runner was amazing, but that was 26 years ago, and he hasn’t made a science fiction film since. I’d like to believe he can jump back in the saddle, but considering what he’s been up to for the past two and a half decades, I have my doubts. While the quality of Scott’s filmography is admittedly debatable, it’s safe to say he’s made some pretty terrible movies, Kingdom of Heaven and A Good Year come to mind. Even his films that have some potential end up falling short. American Gangster, while not a bad movie, felt like only like a sufficient execution of a script Scorsese would have passed over in the nineties.

Even if Scott can get his Blade Runner mojo working again for Brave New World, it could still be really bad. …Read more