Daily Archives: December 18, 2008

Bryan Greenberg on Abusing Alan Rickman

Since it’s a known fact that certain Shared Darkness readers have a Bryan Greenberg crush, I thought I’d pass along this bon mot from the recent press day for Nobel Son, about the joys of working with Alan Rickman, even if it involves getting a bit physical:

“I was looking forward to torturing Alan Rickman for a
whole day, and I think he got a bit annoyed with me, because I kind of
one-upped him in the scene,” says Greenberg. “I had these files (in my hand), and in a wide shot I hit
him on the head with them and (director) Randall Miller said, ‘Oh I like that!’ And I saw this
look on Alan’s face like, ‘Oh great, now he has to do that all day.’ But it
was great to work with Alan, to see an actor who makes specific choices
and sticks by them. It’s kind of rare, actually. I’ve worked with a lot of actors
who kind of rest on their own laurels, and kind of get by on their own
charm and charisma and give up on the process, the work
. But Alan is
really a big believer in the work and creation of character, and it’s
really inspiring as a young actor to be around something like that. You
learn a lot from a guy like that.”

Last Chance Harvey

On the verge of losing his job, rundown New Yorker jingle writer Harvey Shine (Dustin Hoffman) flies to London for a weekend to attend his daughter’s wedding, but promises to be back on Monday morning to make an important meeting. He arrives to learn his daughter has chosen her stepfather to walk her down the aisle instead of him. Devastated, Harvey leaves the wedding before the reception, misses his plane and ends up drowning his sorrows at the airport bar, where he strikes up a conversation with Kate Walker (Emma Thompson), a slightly prickly, 40-something singleton whose life is limited to work, the occasional humiliating blind date and endless phone calls from her smothering, delusional mother, Maggie (Eileen Atkins). The growing connection between the pair energizes and inspires both of them, even as they grapple with difficulties of adult-onset romance.

Not yet 40, British-born writer-director Joel Hopkins (Jump Tomorrow) perhaps doesn’t have the necessary life experience to pull off the injection of a credible depth of feeling into this tale. The resultant harmless inconsequentiality is a lumpy, sentimental mass that clumsily strikes many of the familiar surface keys of melancholic regret. But there’s a crinkle-eyed mischievousness that pokes through in Hoffman’s performance and robs the character — and thus the movie as a whole — of a chance at something darker, and more arresting. (As Harvey’s grown but still wounded and emotionally distant daughter Susan, it’s Liane Balaban who makes a lasting impression.) Hopkins doesn’t necessarily want to play on that field, but he should, since his film doesn’t have the wit to compete with Something’s Gotta Give, the movie that it most clearly wants to emulate. Ergo, when the silly montage of Kate trying on dresses inevitably arrives, you don’t forgive it and just go with the flow of the movie, you turn on the film, and hold a grudge. (Overture Films, PG-13, 99 minutes)

Rosario Dawson on Will Smith’s Post-Coital Nervousness

After chasing around Shia LaBeouf in the $175 million-grossing techo-thriller Eagle Eye earlier this year, Rosario Dawson spends Seven Pounds with her pulse very much under control. Opposite Will Smith‘s tightly wound, curiously hermetic IRS agent, Ben Thomas, Dawson plays Emily Posa, a terminally ill young woman with a slew of past-due medical bills who sparks an unlikely connection with her auditor. In advance of the film’s release, I spoke with Dawson recently spoke about her own comic book series, her debut film Kids, and lying around post-coital with an awkward Will Smith. For the Q&A feature, from New York Magazine‘s Vulture, click here.

Jennifer Aniston on The Late Show

Jennifer Aniston sat for three segments last night on The Late Show, most of which, little shock, was devoted to her private life — awkward if pleasant non-talk about holiday plans, tabloid/cultural scrutiny, current boyfriend John Mayer, and of course that recent nude photo shoot for GQ. The obviously planned capper to all this — Aniston giving David Letterman the very necktie she sports on the cover, sans clothing — was funny, but dragged on a bit too long, with Letterman swapping out ties and Aniston undercutting the pinch of the moment by repeatedly commenting on how “great” it was. For those wondering, Aniston did also briefly mention matriculating at Green Meadow Waldorf, the New York performing arts school made famous by Fame, though she said there weren’t legwarmer-clad impromptu dance-offs, alas.

The Heartbreak Kid (Blu-ray)

A story of awkwardly overlapping romances liberally seasoned with the patented, over-the-top humor of the brothers Farrelly, The Heartbreak Kid — new to Blu-ray this month — reunites the behind-camera comedy specialists with star Ben Stiller in a careening showcase for serial outrageousness that favors potent commercial formula over strict adherence to narrative through-lines.



Stiller stars as San Francisco sports store owner Eddie Cantrow, who, after years of bachelorhood and ample pressure from his widowed father, Doc (Jerry Stiller), and best friend Mac (Rob Corddry), starts to wonder if he’s being too picky about the women he meets. The wedding of a former girlfriend only serves to amplify these feelings of isolation, so when a chance encounter with an alluring blonde marine researcher named Lila (Malin Akerman, above right) leads to the sweet bloom of romance, Eddie believes he’s finally found true love. When the threat of a potential job transfer for Lila endangers the relationship, he impulsively proposes.

But as the newlyweds drive down the California coast on the way to their honeymoon to Cabo San Lucas, Eddie feels familiar pangs of unease and discomfort. Soon after reaching their exotic Mexican hideaway, he’s convinced he’s made a terrible mistake, put off as he is by Lila’s aggressive bedroom demeanor and a chain of kept secrets that range from merely unnerving (a deviated septum) to jaw-tighteningly negligent (a mountain of debt, an old drug habit). It’s here that Eddie also happens to fall for the down-to-earth Miranda (Michelle Monaghan), who’s visiting with her family.

Miranda has no clue that Eddie has just married, and with Lila confined to the honeymoon suite with a brutal case of sunburn, Eddie struggles to find a way to extricate himself from his days-old marriage without losing the (new) girl of his dreams. A tangled bit of misunderstanding leads Miranda to believe that Eddie is a widower, but when that gives way to the truth, and Miranda returns home, Eddie sets off to try to win her back.

While The Heartbreak Kid retains the Farrelly’s trademark humanistic touch (evident with the care paid to Miranda’s country-raised family, including Danny McBride) it also doesn’t hesitate to offend, chiefly through Lila’s sexual voraciousness, but also a wide variety of casual brusque language and one-liners. Notions of character consistency are hard to pin down, though, especially since some of Lila’s sprung “surprises” are matters that would have easily been previously sorted out, even in six weeks of virginal, whirlwind courtship. There’s the soft but frustrating contrast, too, of scenes in which Lila talks about being just like an elderly couple in 10 years (she’s “not good at math,” she confesses), then immediately references she and Eddie spending the next 40 or 50 years together.

The fact is that The Heartbreak Kid asks in many ways to be taken air-quote seriously as something a bit darker and of more modern, sardonic substance than director Elaine May and screenwriter Neil Simon’s original 1972 comedy — from Eddie’s familial entanglements with his “would-be” in-laws to the movie’s general view of relationships and its barbed, deliciously bleak-hearted ending. The film’s wild and crazy, blue asides, then (bits that include a shot of Lila’s hairy, pierced pubic area, and a discussion of Carlos Mencia’s hotel concierge placing Lila’s hand on his genitals), often arrive with the jarring force of a less-than-well-oiled traveling theme park ride; they’re naughty, outside-the-lines coloring, wedged in for cheap effect. Still, the performances are almost uniformly engaging, with Stiller cycling through a catalog of sputtering resistance ploys that still mostly work, no matter their familiarity.

Presented on Blu-ray in stunning, 1080p high definition, The Heartbreak Kid comes with three audio options — English language 5.1 Dolby True HD, French language 5.1 Dolby digital and Spanish language 5.1 Dolby digital — as well as optional subtitles in English, French, Spanish and Portuguese. Imported from the movie’s previous DVD release are a series of fairly brief standard definition featurettes and gag reels, along with a high definition of the movie’s original theatrical trailer.

An audio commentary track with the Farrelly brothers anchors this release, and anyone who’s heard previous alt-audio tracks with these guys knows that their chats are anecdote-laden and full of love for all the background players, which typically consist of their extended family and friends. This track is no different; it’s breezy and lively, but short on what you might call psychologically penetrating analysis. Still, there’s mad affection dished out for the production leeway granted them by DreamWorks, and unsuspecting viewers might be surprised to learn about a plot tidbit suggested by none other than Steven Spielberg. Clocking in at 16 minutes is “The Farrelly Brothers: In the French Tradition,” a short, tongue-in-cheek joint biographical sketch about the filmmaking siblings, and what pointed them down the occupational path they eventually chose.

The five-minute “Ben & Jerry” finds Ben Stiller and his real-life father yukking it up, and talking about how they love working together, while “Heartbreak Halloween” showcases the cast and crew donning Halloween costumes and having a grand old time on set. Extending that theme is another eight-minute featurette, this one about the off-book egg-toss contests held on set, as well as a four-minute gag reel of flubbed lines and interactions from the film. These segments are basically all of a piece, and while they’re fun and jokey, they don’t necessarily bear repeat or scrutinizing viewings. Rounding things out, along with the aforementioned trailer and a gallery of some other previews, is a small collection of a half dozen deleted scenes. To purchase The Heartbreak Kid on Blu-ray via Amazon, click here. C+ (Movie) B (Disc)

SAG Doles Out 2008 Awards Nominations



The Screen Actors Guild announced its award nominations this morning, ass-crack early, and while there was some spread in the nods, there was also no doubt as to the biggest winner. The headlining nominations, for Outstanding Performance by an Entire Cast, are The Curious Case of Benjamin Button, Doubt, Frost/Nixon, Milk and Slumdog Millionaire. In the Male Actor in a Leading Role category, the nominees are Richard Jenkins for The Visitor; Frank Langella for Frost/Nixon; Sean Penn for Milk; Brad Pitt for The Curious Case of Benjamin Button; and Mickey Rourke for The Wrestler. In the Female Actor in a Leading Role category, the nominees are Anne Hathaway for Rachel Getting Married; Angelina Jolie for Changeling; Melissa Leo for Frozen River; Meryl Streep for Doubt; and Kate Winslet for Revolutionary Road.

For the Male Actor in a Supporting Role category, the nominees are Josh Brolin for Milk; Robert Downey, Jr. for Tropic Thunder; Philip Seymour Hoffman for Doubt; Vermont Senator Patrick Leahy… err, sorry, Heath Ledger for The Dark Knight; and Dev Patel for Slumdog Millionaire. For the Female Actor in a Supporting Role category, the nominees are Amy Adams for Doubt; Penelope Cruz for Woody Allen’s otherwise long ago disregarded Vicky Cristina Barcelona; Viola Davis for Doubt; Taraji P. Henson for The Curious Case of Benjamin Button; and Kate Winslet for The Reader.

To my mind, the only real surprise is Patel, who’s been lambasted in some reviews of Slumdog; a nominal surprise is Brolin, whose been getting plenty of critical love, but hadn’t really broken through with a top-shelf prize yet to more firmly establish himself as an Oscar contender. There was as much love for Che as for The Love Guru, it turns out — which is to say none. Which doesn’t bother me, I confess. The SAG Awards will be simulcast live on Sunday, January 25, on TBS and TNT, at 8 p.m. Eastern and Pacific times.

Fired Up! Trailer Induces Heavy Sighs

The trailer for Fired Up! (Screen Gems, February 20) is online, and not inspiring much confidence about the current state of genre screenwriting. The plot? Two high school guys, Nick (Eric Christian Olsen) and Shawn (Nicholas D’Agosto, great in the under-seen Rocket Science), are dreading the prospect of another summer at football camp. So when Nick hatches a scheme for the two to follow their school’s cheerleaders to cheer camp instead, they find themselves awash in a sea of gorgeous young women. Everything goes great until Shawn falls for Carly (Sarah Roemer), the beautiful head cheerleader who sees right through their plot.

The sort of naked brazenness with which Bring It On is ripped off comes across as eye-stabbingly bad, sure, but more damning is the fact that this trailer seems to go on for-ever, which is not a good sign for the movie’s long-play prospects. With presumably a bit more forward-leaning of a character, Roemer, aka the chick from Disturbia, gets a chance to prove her mettle in something else, and survive and advance in the Hollywood starlet sweepstakes. Other thoughts: the 31-year-old Olsen as a high schooler, no matter how jocked out, is a real stretch… and if John Michael Higgins shouldn’t yet completely stop receiving work, he should definitely be excised from trailer rotation. His hiring now says one thing, and one thing only: sure, we didn’t write a funny character, but we paid a little bit extra to get this guy you’ve seen before, in the hopes that he has some residual goodwill still in the tank.