The news that Greta Gerwig will star opposite Ben Stiller in Noah Baumbach’s upcoming Focus Features-financed Greenberg would seem to represent just the latest landmark in an evolution.
As polemicists rush to reject mumblecore as an ill-defined concept and Joe Swanberg as an auteur, Noah Baumbach is borrowing both the Nights and Weekends director as a cameraman and Swanberg’s frequent ingenue as a star. Even Steven Soderbergh is adopting the production methods with which Swanberg has become associated –– shooting fast and cheap on digital, using acquaintances of the production in lieu of actors and asking them to improvise based on an outline, etc. Swanberg invented none of it, but neither did Soderbergh, and when you consider Bubble as a kind of experiment in exotica, the latter has never gone as far in a quest for contemporary naturalism as he does in The Girlfriend Experience. There’s something, at the very least, undeniably interesting about the fact that both filmmakers will release films in 2009 made roughly the same way.
As a result, the m-word might cease to exist as a stand-alone concept –– and I think no one would be happier about that than some of the filmmakers who bristle at being lumped into a movement just because they made a movie about 25 year-olds shot on video –– but its stars and spirit are being assimilated into mainstream indie film. Are boundaries finally breakind down between Indiewood and, uh, DIYwood? Was this inevitable, or are we surprised?
Ben Stiller is replacing Mark Ruffalo as the male lead in Noah Baumbach’s comedy-drama Greenburg, which has also just lost female lead Amy Adams. Between this and the news that Stiller’s directing The Trial of the Chicago 7, it appears he’s headed for a more serious course. If so, he should try and get that Zoolander sequel made before he becomes the next Tom Hanks. Joking aside, though, this could be good for those of us who prefer his performances in Permanent Midnight and Your Friends and Neighbors.
Hollywood is making yet another apocalyptic alien invasion movie, yet the latest, a comic book adaptation called Atlantis Rising, involves a threat from beneath the ocean. Obviously, it’s labeled a cross between two James Cameron films, Aliens and The Abyss.
Oliver Stone’s latest documentary about a controversial world leader will focus on Venezuelan President Hugo Chavez, who he’s been filming for six months. There’s also rumor that he’ll follow that up with a doc on Iranian President Mahmoud Ahmadinejad.
Speaking of Stone, for those who wished Will Ferrell had played the lead in W., HBO is airing a live telecast of Ferrell’s upcoming Broadway show You’re Welcome America. A Final Night With George Bush. The date of the telecast is still unrevealed, but it’s likely to be in March.
Oscar ratings in France should be huge this year, because Jerry Lewis has been named to receive the Jean Hersholt Humanitarian Award at the Academy Awards.
I missed it when it aired over the weekend, but apparently there was a short film on Saturday Night Live this past Saturday starring guest host Paul Rudd, Bill Hader and an out-of-Obama-costume Fred Armisen, directed by none other than Noah Baumbach. Via Whatevs, I’ve embedded it above. It’s a cute bit of bromance–they’re all sleeping with the same girl, because they all really love each other! It’s noMr. Jealousy (ah, Chris Eigeman and Peter Bogdanovich, together at last), but at the very least, it’s considerably more subtle than anything I’ve seen on SNL in awhile.
Some of these links still date back to before the weekend. What can I say? It took a couple of days to make it all the way through my feeds. Only freshies tomorrow, I promise.
John Brownlee offers a sneak peak at Ghostbusters 3, the videogame-only continuation of the saga, featuring a script by Dan Ackroyd and the voices of Ackroyd, Bill Murray, Harold Ramis and Ernie Hudson. “Will Ghostbusters 3 be a worthy successor to the franchise? It’s still too early to say, but early game footage of Ghostbusters 3 has leaked out, and it looks incredible.” That footage is embedded above. The footage has been removed from YouTube. Boooo.
We’re sure Ronnie Bronstein is very excited about his Spirit Award nomination, but Frownland is also up for an award at the Gothams, the New York-centric film awards put on by Find Independent’s former parent company, IFP, which takes place tonight. And as if the stakes weren’t high enough already, Michael Tully has declared, “if Frownland doesn’t win the Gotham tonight I will eat my iPod.” Of course, we’d rather see Ronnie win, but should the iPod eating actually go down, I’ll try to get photo evidence.
What’s this? High praise for Francis Ford Coppola’s Youth Without Youth, which was almost universally dismissed at the Rome Film Festival? Hmmm. Jurgen Fauth says: “I know, I know — there’s nothing duller than listening to other people’s dreams. And yet… the shared fantasy Coppola created from Mircea Eliade’s novella weaves a strange magic, mysterious, playful, philosophical, and loopy with romance. I’d like to hold on to that gossamer enchantment for just a little while longer, privately, before it’s time to take out the stainless steel critical apparatus and cut this one open.”
Speaking of Coppola, The Playlist weighs in on FFC’s One From the Heart: “This neon, highly stylized break-up film might be a failed experiment, but man, is it one of the most pretty failures to look at ever.”
Ray Pride passes along exciting news: David Cronenberg is writing a novel. Says Nicole Winstanley, the Penguin Editor who nabbed the rights, “I wrote David Cronenberg several months ago to inquire about whether or not he’d consider writing a novel. His films demonstrate a deep understanding of the human condition that could translate into fiction brilliantly.”
“Noah Baumbach is one relentlessly bleak filmmaker, and that’s not a compliment,” writes Daniel Carlson at Pajiba. “It’s not that his films are necessarily evil, or even completely off-target; rather, one of the things that makes Baumbach so slippery is his habit of stumbling onto moments of slight emotional truth in the middle of a film completely devoid of it.”
Here’s a look at the notable films opening this week that we’ve previously covered here on SpoutBlog:
Redacted: Bill O’Reilly can finally get a look at the film he’s sight-unseen been threatening to boycott, while Magnolia finally gets to put that whole all-press-is-good-press maxim to the test. Here’s my review from Telluride; for a recap on the possibly-contrived battle between director Brian DePalma and producer/distributor Mark Cuban, see here, here and here.
Beowulf: Is director Robert Zemeckis not doing press for this film because he knows it’s a bad idea to compete with the post-Comic-Con gushage over Angelina Jolie’s nakedness?
Smiley Face: Kevin and Paul are big fans of Gregg Araki’s stoner comedy, which came off a successful festival run to be all but abandoned by its distributor. The film opens on one screen in L.A. today before going straight to DVD. Listen to Paul’s interview with Araki here.
Margot at the Wedding: Noah Baumbach’s follow-up to The Squid and the Whale is disappointing, despite Nicole Kidman’s strong performance as a wicked sister. Read the review here.
I first saw Margot at the Wedding, Noah Baumbach’s follow-up to The Squid and the Whale, in September at Telluride. I generally disliked it, but I vowed to see it again at the New York Film Festival and, if my opinion had changed, update my original review. If anything, the second viewing solidified many of my initial, negative feelings about the movie, but I did gain deeper respect for the performances, particularly that of Nicole Kidman, who creates a magnificent villain with a vivid backstory, despite the fact that Baumbach gives her very little to work towards. I’ve updated my review to include some thoughts based on a second viewing; you’ll find the old version here, and the new version after the jump.
My first impression of Margot at the Wedding (which, admittedly, may change after I see it a second time at the New York Film Festival) is that Noah Baumbach’s follow-up to The Squid and the Whaleis an intermittently fascinating exercise that barely holds together as a film. It plays as if Baumbach cut together a footage reel of master-class actors (plus Jack Black, who, perhaps emboldened by the company, somehow gives the finest performance of his career) rehearsing without a script. The characters are half-formed and/or disposed of unceremoniously, the themes are haphazardly integrated, the emotional arc is virtually non-existent.
And yet, some of the performances show flashes of magic, so much so that for all its faults, it’s not entirely dismissable.
It did look good on paper, didn’t it? Nicole Kidman plays Margot, a successful short story writer/prolific drinker who has developed a kind of perfect celebrity-literary scam: she projects her own self-loathing outward, and then drains the frustrations of her friends and family directly onto the pages of the New Yorker. It’s not entirely clear why Margot’s husband (John Turturro), son (Zane Pais) and sister (Jennifer Jason Leigh, who is married to the director) keep letting her get away with this, but in the film’s best scene, her sometime-lover very publicly dresses her down for the same.
I rarely get excited about new trailers; I NEVER get excited about two trailers in the same week. But today, thanks to Variety’s Anne Thompson, I’ve had a glimpse at a second film on my list of Fall 07 Must-Sees, and I can tell you that it isn’t going anywhere.
Margot at the Wedding (embedded via MovieFone above), written and directed by Noah Baumbach, stars Baumbach’s wife Jennifer Jason Leigh as a lady preparing to marry the schlub who got her pregnant. That description might call to mind a certain recent comic smash, but this looks like very different territory. Within the context of Baumbach’s filmography, Margot looks more like the dark family dramedy The Squid and the Whale than something like clever-but-fluffy Mr. Jealousy. Nicole Kidman–brunette, and just de-glammed enough to resemble a real person–plays Leigh’s judgmental sister. Jack Black is once again cast as in the “unlikely love interest” role, after his turn in Nancy Meyers’ embarrassing The Holiday, although I’m sure he’ll benefit from Baumbach’s ability to write characters that might actually, like, live in the world.
Interest in Margot seems to be fairly high. Shortly after the trailer appeared on Thompson’s blog, a flurry of otherblogs picked it up. I even virtually eavesdropped on a Twitterconversation about the soundtrack. Hopefully we’ll get to see the thing at one of the late-Summer festivals, either Telluride or Toronto.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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Here’s a look at the notable films opening this week that we’ve previously covered here on SpoutBlog:
My first impression of 
