Cinematical

Medical science tells us that there's a portion of the brain called the R-complex that, nestled low and close to the spinal cord, governs simple, automatic brain functions like respiration and reflex and heart rate; other outlying, larger brain structures cover language, culture, memory and art. I mention this because Death Race, writer-director Paul W.S. Anderson's re-visitation of the 1975 trash-classic Death Race 2000, is wholly, entirely and perfectly designed to appeal to the R-complex portion of your brain. Death Race roars, rages and races down the track, all velocity and visceral violence, unencumbered by logic, sense, reason or dignity. My more evolved brain structures kept objecting to Death Race's more ludicrous contortions as it whipped around its curves, but my R-complex didn't want to hear the high-pitched whining voice of logic and reason; it simply grunted, settled into a soft cushion of popcorn topping and said "Shut up, bigger brain; bald man who talk cool killing now."

It's hard to believe that it's been a whopping 15 years since Tim Burton's The Nightmare Before Christmas was released. The Buttercup-stealing Humperdink, or Chris Sarandon as Jack Skellington, Catherine O'Hara as Sally, plus a little bit of PeeWee and the wacky Greg Proops -- the days before Johnny and Helena were in everything Burtonesque.

In commemoration of the anniversary, the Collector's Edition DVD hits shelves next week, but to whet our hungry appetites, ShockTillYouDrop has got three clips from the new disc. Check out how they made the Haunted Mansion as a holiday tour led by Jack, the process of shooting the film, and finally, Tim Burton's original poem of The Nightmare Before Christmas, all funky and animated.

It's looking to be one heck of a great re-release. From seeing how Jack's version of the Haunted Mansion played out, to how the film was made, to Burton's old short film Vincent, it's all there. Will it be in your basket come Tuesday?

"I tend to make an ass out of myself a lot. And so that's kinda the cool thing that comedy has given me -- the ability to laugh at myself." -- Anna Faris

You might not know it yet, and she might not know it yet, but the female answer to Judd Apatow and Seth Rogen and all those, well, dudes, has finally arrived in the form of ... a Playboy bunny? In her latest film The House Bunny, Anna Faris plays a Playboy bunny who's kicked out of the mansion, and, in searching for a new place to crash, stumbles into the dorkiest sorority house on campus and signs up to be their house mother. It's a familiar PG-13 comedy that doesn't exactly re-invent the wheel, but if there's one reason to see the film, it's Faris. Here, at least, she proves there's definitely room for big, female-centric comedies in Hollywood.

Cinematical sat down with Faris earlier this week, where we spoke about her new film, what it's like to be on the cover of Playboy and how, exactly, she went from starring in dramatic theater productions in Seattle to landing the lead role in a little comedy called Scary Movie.

Cinematical: So congrats on landing the cover of Playboy!

Anna Faris: [laughs] Thank you!

Cinematical: What's up with that? Was anyone caught by surprise or freaked out at seeing you on the cover?

AF: Yeah, I thought it was awesome -- it was rad -- and that all my ex-boyfriends would think, ya know ...

Cinematical: They'd be feverishly flipping through the pages thinking your career was over and this was a last ditch effort to do whatever ...

AF: [laughs] Probably ... but yeah, it was great. Ya know, we planned it awhile ago and just wanted it to tie into the film and all that. My parents are pretty conservative, but they were really happy and excited for me. In fact, I'm taking them to the premiere tomorrow, which the party afterwards is at the [Playboy] mansion ... so [laughs] I'm going to try to drag them up there.

Above: Rainn Wilson lets his hair down for The Rocker.

Fans of Rainn Wilson's offbeat, hilarious and strangely endearing performance as Dwight Schrute on NBC's The Office might expect him to transition into film work with straightforward comedy, and The Rocker confirms that suspicion. However, they might not realize the serious professional motives behind his choice. In the movie, directed by Peter Cattaneo (The Full Grown Monty), Wilson plays a grown-up dolt named Fish with a scary fixation on classic rock. Abandoned by the band Vesuvius in his teens -- before they became a commercial phenomenon -- Fish spends the next twenty years working deadbeat jobs and wishing things happened differently. Naturally, he gets a second chance: When the opportunity rolls around to drum for his nephew's high school, Fish goes for it. Ageism and slapstick humor ensue.

While not exactly a classic, The Rocker proves Wilson has the charisma to carry a movie. The script could use some polishing, but Wilson manages to play a completely dysfunctional human being without ever becoming an annoyance. It's a testament to his skill as an actor with calculated timing. The humor emerges from the naturalism of his performances, which make you believe in the outlandish characters he portrays. In a conversation with Cinematical recently, Wilson elaborated on his particular strategies as his career advances, reminisced about his days as a New York theater actor, and shed some light on a few upcoming projects.

(We're re-posting our CineVegas review of The Rocker to coincide with the film's theatrical release today)

I like the premise of The Rocker so much -- middle-aged wannabe rock star insinuates himself into his teenage nephew's band -- that I'm inclined to go easy on it solely out of good will. It's likable enough, a lightweight rock 'n' roll comedy punctuated by several belly laughs -- but those laughs are all in response to the one-liners, and mostly from one minor character (more on that later). The story, the central personalities, and the uninspired slapstick are bland.

The title wannabe is Robert "Fish" Fishman, played by Rainn Wilson (of TV's The Office) in his first major film role. Fish was the drummer for Vesuvius, a mid-'80s heavy-metal band, but was kicked out on the eve of the group's success. Now, two decades later, Vesuvius is huge and Fish is a bitter has-been (or, rather, never-was).

If you're one of the many moviegoers who loved Mamma Mia!, perhaps you thought the only thing missing from the experience was the shrill sound of your fellow audience members screaming the lyrics of "Dancing Queen" along with Meryl Streep and her lady friends. Well, Universal Pictures has read your mind, and Mamma Mia!: The Sing-Along Edition will open on Aug. 29 in select theaters. It'll be the same movie, only with all the musical numbers subtitled and audience members encouraged to join in on the vocals.

All we have so far is a press release from Universal, which doesn't say how many theaters the sing-along edition will be in. You are encouraged to visit the Mamma Mia! website for updates, however. These will be regular screenings at regular movie theaters for the regular prices; all that's different is that the lyrics will be on the screen, karaoke-style. And the best part is, even if you're a terrible singer, you can take comfort in knowing you're still better than Pierce Brosnan.

ABBA's music is famous for being catchy, and as a result many people overlook the actual words. This sing-along event will be an opportunity to really notice and pay attention to the subtle complexities of lines like this, from "Money, Money, Money":

In my dreams I have a plan
If I got me a wealthy man
I wouldn't have to work at all
I'd fool around and have a ball

Hooray for girl power and rhyming!

It's a slow week, packed mainly with television box sets, but there are a few little-known films you might want to check out.

Please Vote for Me
This was a film that I was dying to see at TIFF last year, but scheduling conflicts kept me from it. Luckily, the highly praised Please Vote for Me is now hitting DVD shelves.

Imagine a group of third-grade students putting Tracy Flick to shame as they hold a democratic election for school monitor. In my day (man, that phrase makes me feel old...), school elections boiled down to some crappy posters and speeches, all resulting in a popularity contest. These Chinese students, however, have taken a cue from the political bigwigs. We're talking political consultants, polling, and exploitation -- basically a real election full of tiny tots.

Unfortunately, the only extra on this release is a theatrical trailer, but considering the reviews and how purely awesome this film sounds, I bet it's still worth it.

Check Out Ryan Stewart's Review | Buy the DVD

In a weekend glutted with new releases battling the aftershocks of The Dark Knight earthquake, Tropic Thunder debuted below expectations -- but well enough to steal the top spot from The Dark Knight in that film's 5th weekend. The R-rated comedy's $26 million weekend and $37 million 5-day was roughly on par with Pineapple Express' performance the previous weekend, but I think Tropic Thunder was predicted to have broader appeal. In retrospect, the advertising may have emphasized the film's inside-baseball aspects a bit too much.

Star Wars: The Clone Wars did okay in third place with $15 million -- weak for a purported Star Wars film, but not bad for a Saturday morning cartoon. The woeful Mirrors took in a relatively paltry $11 million, a wuss-out signaled by the 11th hour press screening cancellation. Contrast The Strangers, the summer's other major R-rated, non-Shyamalan horror film, which debuted to almost twice as much despite not having as nifty a high-concept.

The Dark Knight, meanwhile, continues to edge toward $500 million. Its 5-weekend total stands at $471 million, enough to top Star Wars' unadjusted numbers. Titanic still looks out of reach, even setting aside the apples-and-oranges aspect of comparing a 1997 release to a 2008 one.

Pineapple Express fell 57% in its second weekend, putting $100 million out of reach. On the other hand, Mamma Mia! continues to be popular, suffering drops of around 20% each week thanks to good word-of-mouth and likely repeat viewings.

Woody Allen's Vicky Cristina Barcelona came in at #10, with $3.7 million on 700 screens, Woody's second-best opening ever. Two spots below that, the poorly-reviewed 3-D spectacle Fly Me to the Moon made $2 million on 450 screens.

The full estimates after the jump.

With Fall Festival season about to kick off, this week The Rocchi Review features James chatting with Cinematical's Film Festivals Editor Kim Voynar about the strange splendor of the Telluride Film Festival, what the most-anticipated movies will be at this year's Toronto Film Festival and much, much more. Will Zack and Miri Make a Porno make a splash? Will Rachel Getting Married get Anne Hathaway some respect? And does one of the most-anticipated films for Toronto really star Jean-Claude Van Damme? Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

For all you Harry Potter fans who are also devoted to a certain series of teen-vampire romance novels, here's something that should help you deal with Thursday's devastating news about Harry Potter and the Half-Blood Prince being pushed back to next summer. Summit Entertainment announced today that with Harry having vacated the November 21 spot, they're going to fill it with Twilight, bumping it up a full three weeks from its original date of December 12.

While some fans wondered, irrationally, if the Harry Potter move was to get away from Twilight, Summit's CEO says Twilight never had any delusions of being more powerful than the boy wizard at the box office. "With a giant franchise like Harry Potter in the market, we had to stay clear of it," Rob Friedman told Variety -- hence the original date well away from Half-Blood Prince. "Their move created an opportunity to bring the movie to fans three weeks earlier."

Once November 21 opened up, the move was really a no-brainer. As a press release from Summit points out, movie theaters get very crowded around the holidays, and Twilight will be able to open on far more screens on November 21 than it could have on December 12. Now it'll be opening the Friday before Thanksgiving, too, which is nearly always a plus. Its only competition will be Disney's animated Bolt. The only loser here is Entertainment Weekly, whose Fall Movie Preview is now wrong again, before most readers have even seen it. (Or, from another point of view, now that issue is even more of a collector's item.)

What do you say? Are you excited about getting Twilight sooner? To those of you who have been sending Warner Bros. wrathful messages about the Harry Potter move, does this quell your anger somewhat? Will you at least be able to live and function and carry on?

It's too bad that more movies don't have the courage to explore faith and spirituality in a direct way; studios are usually too worried about appealing to all religions -- and all pocketbooks -- to be very specific about the subject. The other reason is that it's difficult for Hollywood movies to wrap up their neat, bow-tie happy endings with everything resolved, since the idea of faith is based on lack of proof, lack of finality. One of my favorite movies is Dreyer's The Passion of Joan of Arc, which uses an unconventional, off-kilter visual scheme to document some exciting, endlessly fascinating arguments: which side is God on and what does He really want with us? The new Henry Poole Is Here bucks the trend with the appearance of a "miracle" in the life of its ordinary, everyday character. Does it raise any interesting, life-changing questions? Sadly, no. The film is too bored and lackadaisical with its subject to change much of anything. It's too uninspired to be inspirational.

Henry Poole (Luke Wilson) is a man with "movie disease." This means that he's going to die, and he'll have absolutely no symptoms until he does. Sometimes "movie disease" comes with a cough, but not this time. Sometimes "movie disease" has a name, like "brain cloud," but not this time. In preparation for the dark day, Henry buys a house in his old neighborhood, loads up on booze, doughnuts and pizza and waits. Meanwhile, his nosy neighbor Esperanza (Oscar nominee Adriana Barraza, from Babel) brings him tamales and pokes around his backyard. (Her late boyfriend used to live in the same house.) She notices that a badly done stucco job has produced a water stain, and that the water stain looks a bit like a familiar guy with a beard. The picture even produces a drop of blood.

This is the cover of the new Entertainment Weekly, which hit newsstands today, approximately 24 hours after its top story became outdated. As you've heard by now, Harry Potter and the Half-Blood Prince is no longer the most-anticipated movie of the fall; it's now the most-anticipated movie of July 17, 2009. Whoops.

This bit of unfortunate timing is particularly cruel given that Entertainment Weekly and Harry Potter distributor Warner Bros. are both owned by Time Warner Inc. As EW's Jeff Giles writes in a must-read entry on the magazine's blog, "EW and Warner Bros. share a parent company, but they clearly do not share, you know, important friggin' information." (For the record, Cinematical is owned by Weblogs Inc., which is owned by AOL, which is also owned by Time Warner. But if Entertainment Weekly isn't in the loop on major corporate decisions, you can imagine how out of it we are. We're like the distant hillbilly cousins who show up at the family reunion, have no idea who anyone is, and gorge ourselves on pie.)

Considering EW is Time Warner's flagship entertainment magazine, you'd think someone at corporate would have given them a heads-up before their Fall Movie Preview went to press. While the announcement about the date change wasn't made until Thursday, surely the execs at Warners didn't just wake up that morning and say, "Hey, let's move Harry Potter today!" Surely the decision was at least a few days in the making.

On the other hand, it did seem to happen pretty suddenly. Giles points out that Half-Blood Prince's teaser trailer (complete with the November release date) is attached to Star Wars: The Clone Wars, in theaters today. If Warners had made the decision in time, they'd have nipped that in the bud, too. So either the decision really wasn't made until yesterday, or else some family members are too good at keeping secrets from one another.

With Toy Story (1995), a studio called Pixar blew the lid off of animated movies as we knew them. Thirteen years later, the other studios have yet to even approach that early level of excellence, let alone match the advancements Pixar has made since. Oddly similar to the most recent clunker Space Chimps, the new Fly Me to the Moon looked infinitely more promising in that it was based on an actual idea: the 1969 Apollo 11 mission as seen through the eyes of three stowaway flies -- in 3D! But sadly it proves itself as technically dull and as creatively stifled as Space Chimps as well as nearly every other non-Pixar movie.

After a totally useless, noisy black-and-white prologue, we get a very cool establishing shot. The camera flows smoothly through the back lots behind Cape Canaveral in Florida. It swoops into a patch of dirt and a tangle of weeds, through some bits of discarded junk, to the world where our little flies live (like humans, in little dollhouses). During this and other traveling sequences, the 3D works beautifully, engulfing us comfortably in this tiny world. But as soon as we meet the characters, the movie starts to sputter. In real life, houseflies can zip across the kitchen pretty darn fast relative to their size, but these flies drift lethargically from place to place, and the movie bogs down in their lackadaisical pace.

When a film called Mirrors opens with a man fleeing desperately from said objects, it doesn't bode all that well. When that individual soon falls victim to a grisly demise at the sight of them, well, there's something to be said for the fact that there is ultimately nothing to see in Mirrors that is worth grabbing something sharp over. Unfortunately, there is also nothing that you probably haven't seen before in The Ring, The Grudge, or any number of exhaustingly similar American remakes of Asian spook stories.

And what a shame that we find ourselves having to associate the likes of Alexandre Aja with lackluster horror. Well, to be more accurate, luster is just about all he has to offer here, a slick sheen on a stale story. It's nice to have a legitimately menacing score in between shameless jolts!, and if we're to be treated to the same 'gotcha!' shots with depressing frequency, at least the lighting and lensing bring an equal amount of polish to the proceedings. Who knows: With enough technical prowess at play, maybe Aja can get someone to mistake this film for Shinola after all.

A few bright spots aside, the August calendar of wide releases is generally pretty grim. (Do not speak to me of Clone Wars.) Luckily, there are always a few worthwhile flicks playing at the art houses, and the Indie Spotlight is here to tell you about them. We have the lowdown on what's opening "in select cities" this weekend, and if your city wasn't selected, at least you can file a mental note and keep an eye out for the film later.

Alphabetically, this week's new indie releases are: Anita O'Day: The Life of a Jazz Singer, Bachna Ae Haseeno, A Girl Cut in Two, Henry Poole Is Here, and Jack Brooks: Monster Slayer. Note that all of those titles fit in the first half of the alphabet, and three of the five contain people's full names. Fascinating! My OCD is fascinating! Here's the scoop on each of them.

Henry Poole Is Here
What it is: A gentle drama (with comedic elements) about a forlorn man (Luke Wilson) whose house develops a water stain that some people think is a sign from Jesus.
What they're saying: It's always noteworthy when a movie takes a pro-religion, pro-faith-in-God point of view -- and even rarer that such a film debuts at Sundance -- but this one doesn't seem to have done it very well. The critics are split down the middle at Rotten Tomatoes, while Cinematical's Jeffrey M. Anderson calls it "lackadaisical" and "too uninspired to be inspirational." (I've seen it, and I say amen to that.)
Where it's playing: Pretty much everywhere -- it's opening on 500 screens. So keep the faith, indie filmmakers! It could happen to you!
Official site: OMG you guys, it has a MySpace page!