We didn’t do a New in Theaters last week, and many Thanksgiving releases are expanding this weekend, so this is basically a recap of every film we’ve reviewed that’s been released in the past two weeks.

• The Diving Bell and the Butterfly: Paul was “blown away” by Julian Schnabel’s latest at Telluride; at NYFF, Karina called the film “an almost excessively beautiful aestheticization of misery [that's] often a little too good at conveying Baudy’s isolation within his own head.” Check out today’s podcast, which includes an interview with Schnabel from Telluride, and an argument between Karina and Paul.
• The Savages: At Telluride, Paul called Tamara Jenkin’s long-awaited feature follow-up to Slums of Beverly Hills “a really rich movie, full of dark humor you have to develop when things aren’t funny.”
• Starting Out in the Evening: Karina caught Andrew Wagner’s second feature in Denver and had this to say: “[Evening] unfolds in comfortably-worn indie drama territory: New York academics and struggling artists collide cross generations, their almost complete lack of self-awareness failing to keep them from brutally criticizing and actively manipulating one another…but Lauren Ambrose and Frank Langella make each moment on that path feel startlingly real.”
• I’m Not There: Kevin saw it and loved it at Telluride; Karina saw it at NYFF and, um, didn’t. Also check out Kevin’s interview with Haynes here, and audio from Haynes’ NYFF press conference here.
• Protagonist: Guest SpoutBlogger Pamela Cohn on Jessica Yu’s experimental tackling of Euripedes: “Juxtaposing live interviews with four different male characters, and using archival footage of their lives intercut with highly-stylized scenes of puppets reciting Euripides‘ in the original Greek acting out the tragedies being narrated on-screen, Yu orchestrates a provocative and deeply-thoughtful chorus based on the structure of a Greek tragedy…yes, it is quite challenging to watch, but far from boring.”

• A survey conducted by Variety found that, with a resolution to the writers strike still indeterminate, the WGA is so far winning the war of public opinion. “[M]ore than two-thirds of respondents agreed that the scribes are being ‘more honest and forthright’ than the majors in their discussion of the key issues,” Cynthia Littleton writes. Though 61% of all respondents agreed that the strike was “necessary,” the writers have wildly varying degrees of support among other Hollywood unions. 47% of IATSE members polled categorized the strike as “tactically a mistake”; only 15% of SAG felt the same. You can download a PDF of the full survey at the above link.
• Meanwhile, talks are set to resume this morning. The Hollywood Reporter has a primer on where the issues stand.
• Box office: Enchanted made $50 million this weekend, This Christmas’ counter-programming gambit was good for $27 million on half as many screens, while August Rush and Love in the Time of Cholera disappointed.
• More interesting: Andrew Wagner’s Starting Out in the Evening opened to double the per-screen average of Todd Haynes’ I’m Not There. Variety spun this news under the headline, “Are art films out of touch?” In the other box office story linked above, the same publication allowed Bob Weinstein to get away with characterizing The Mist’s 8th-place opening as “a base hit.” I’m not saying Variety’s bashing the rest of the market with broad generalizations in order to let The Weinstein Curse continue on unmarked upon, but…okay, that’s exactly what I’m saying.

Here are some quick reviews of two SDFF films that I watched via screeners before touching down in Denver, and the one film I managed to see in town before succumbing to jet lag/altitude exhaustion. Oddly and entirely accidentally, all three films have something to do with aging males and their identity crises.

Karl Rove, I Love You

A self-mocking psuedo-documentary from the mind of Dan Butler (a journeyman supporting actor best known for a recurring role on Frasier), Karl Rove, I Love You has far less to do with the titualar “ultimate supporting actor” than with the personal fallout of engagement in our super-polarized political culture. What begins as a documentary on Butler as the archetypical “invisible” character actor (he’s consistently compared to Philip Seymour Hoffman, only “less famous”) morphs into a document of Butler’s mid-life crisis passion project, a one man show designed to expose the world to the “Real” Karl Rove. Butler begins the project wanting to hit the Bush administration where it hurts, but slowly comes to empathise with Rove, turns his show into a mildly-satiric love-letter, and alienates his single-minded friends and collaborators in the process.

Not always laugh-out loud funny, but well-paced and consistently engaging, Karl Rove, I Love You uses the natural conflict between (pervasively and unquestioningly liberal, and largely openly gay) Hollywood and (socially conservative but morally ambiguous) Red State actors to explore how angry obsession can offer the same kind of madness, identity salvation and pure pleasure as romantic passion. But more interestingly, it’s also about breaking down a black-and-white cipher and finding a whole person. It always feels more like a sitcom than a credible documentary (and the last twenty minutes really push the limits of disbelief), but it’s just creepy enough to work.

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Posting may be a bit light today and Friday, as I’m heading to Denver to attend the final weekend of the Starz Denver Film Festival. Kevin and Paul will be posting a bit while I’m gone, so be nice to them. Hopefully I’ll find the time to scribble something about the films screening while I’m there, including Starting Out in the Evening, the much-lauded doc  A Walk Into the Sea, and the comedy Karl Rove, I Love You. And if you’re in Denver, come see me speak on this panel on Friday. It’s very important that I put as many sympathetic plants in the audience as possible.

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.

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