The Wolf Pack is back, and this time they're terrorizing Thailand. The Hangover Part 2 is on Blu-Ray, and I've got your copy waiting for you.

This time around, suspect of everything at this point, Stu (Ed Helms) doesn't even want a bachelor party, and it's only by way of a guilt trip that Alan (Zach Galifianakis) is allowed to come to the wedding at all. In fact, Stu is so paranoid that he doesn't want to leave his finacee's side, and is only willing to have one beer with the guys, because he opens it himself.

Of course, it would be an awfully short movie if they didn't wake up in outrageous circumstances, and now we find ourselves in Bangkok, and we better piece things together quickly, because the bride-to-be's little brother is gone... but we've got his finger.

It's ultimately more of the same, and it's a wild trip through the streets of Bangkok, trying to piece together bars, tattoos, monks, and strip clubs, and figure out what exactly happened, and how that might lead them to their missing friend.

While filled with more zany episodes, and sure to inspire at least a few laughs, there's something about running this course that doesn't quite work the second time around. The first one was not only filled with humor, but the uniqueness of the idea was the best element, and raised the comedy on its own. Now we've been down the road, and as much as there are undeniably funny moments, the overall product is somewhat stale, and just doesn't pull you in the way it did the first time around. Worse, though rather unavoidable, a good deal of the movie is covered simply by the characters' repeating that they can't believe this is happening again.

There's something to be said for popping some serious craziness into the Blu-Ray once in a while, and for the proper mood and setting, this one won't disappoint... much, but it won't hold up to the original for most, and those looking for more of this is a limited enough demographic.

That said, the stars (including Bradley Cooper and Ken Jeong) have a certain charm that is inescapable, and can make the most out of a mediocre situation.

Rating: ★★☆☆☆ 

The Blu-Ray quality is certainly good enough, and it's hard to imagine an overabundance of interest in the video quality on this one. The special features aren't bad, though one might expect a few more of them.

There's a gag reel, a featurette on the monkey, and oddly enough, a fake documentary that purports to be of someone trying to expose that real-life craziness that went on during filming. The general idea behind it is that making the film is just an excuse to have a wild vacation in Thailand (which is obviously true), and a certain documentary filmmaking hopeful accosts the stars and director at press junkets and so on, trying to get to the truth. It's not a bad piece actually.

Win Yours Here!

I'm going to make this one a Facebook Liker giveaway. If you already like us on Facebook, you don't have to do anything. If not, see the box below, and click that thing. Winner will be randomly selected on January 20th.

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© 2012, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Hitting theaters on March 9th is not only what looks to be a great movie, with a brilliant cast, but a film you can real cheer for just based on the writer/director. Friends with Kids is written and directed by Jennifer Westfeldt, and while being in a relationship with Mad Men's Jon Hamm for more than a decade probably doesn't hurt your career, she broke out as both a writer and actress with 2001's uber-indie Kissing Jessica Stein.

Not just a quirky charmer, that film has gone on to manage almost a cult status. She also wrote and starred in the horribly overlooked Ira & Abby in 2006, and won a Best Actress Tony in 2004.

In Friends with Kids, Westfeldt finally takes the reins, writing, starring, and directing this ensemble piece about a group of friends who are all at that place in life where kids start entering the picture. Our gimmick here is that the last two singles in the group take a long, hard look at the changes in their friends' relationships, and decide to approach adulthood from a different angle, by having a kid together, but dating other people.

Westfeldt is again doing what she does best, exploring relationships by throwing some monkey wrench into the works, and letting the nature of curiosity bring to light the truths about all relationships.

The film stars Westfeldt, Adam Scott, Jon Hamm, Kristen Wiig, Maya Rudolph, Chris O'Dowd, Megan Fox, and Edward Burns. While most of that cast will pull a lot of people in just by naming them, don't overlook The IT Crowd's Chris O'Dowd, who I think may finally get a chance to prove himself to American audiences with a role he can really deliver.

In the next few months, this is the one you really want to watch for, and I have little doubt it will find its way to the top of the comedy pile at year's end.

Check the trailer below.

For more info, visit:
http://friendswithkids.com/

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© 2012, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

War Horse opens with a man buying a horse at auction for more than it's worth, and more than he can afford, because his foolish pride won't let him lose. This, despite the fact that the sum he puts down is likely to cause him to lose his home and farm. It ends with a man buying the same horse at auction, and declaring that he will not lose, even if he has to sell his house and farm to keep bidding. He does so, because his daughter loved the horse, even if only for a short time.

If you're a fan of film, there's a lot of work that opening and closing can do, and the statement of the competing viewpoints (and that of the young lad at different points in his life) deliver fairly decent depictions of what we're after as a "story," and do it with a good deal of charm.

There's a lot that happens in between, but the film has little else to say beyond wild platitudes and postcard truisms. You'll get what you can from the beginning and end, and anything else you'll put up with by way of a certain spin on cute, fantastic scenery, and the sleight of hand efforts of a master filmmaker. That, or you'll fall for the syrupy goo offered up through what is ultimately cut-and-paste from early war propaganda films, with a horse in place of the All-American everyman with the teeth so bright they make a little ping noise, and a bent toward the similarities found among all those unfortunates who are caught up in war, no matter what side they might be on.

Though certainly passable entertainment, and a well-crafted film in a variety of ways, at the end of the day, War Horse is one of those films that rides high on a wave of critical and public acclaim that has at its foundation the general idea that to say anything bad about it is the political equivalent of kicking a puppy.

Spun together like an attempt to craft a folk tale, our horse in question first plows a field that not even an actual work horse could manage, mainly by the sheer force of will of the young boy who doesn't want his rather nutty father to cut his losses and kill the horse. This allows the horse to live long enough to befriend said boy, and thus hang around long enough for the military to conscript the horse for a decent enough amount of money that our home won't be in serious danger. Thus, we have lazy days spent in trees playing hide and seek with the horse, so that we can be sufficiently sad when the horse is taken away.

This puts our horse into position to lead a charge against a post of Germans, and miraculously survive when a score of machine guns lay waste to the entire British force. This then puts our hero in the hands of the Germans, who use him to pull the hospital wagons, which leads to further adventures, and the butterfly effect way in which he manages to be passed around through a wide variety of points of interest. From the G.I. hiding in a small farm behind enemy lines moments, to the slave labor camp, you've got just about everything covered here.

It's all delivered with the most brilliant of panoramic views, the most doe-eyed of young, German lads (who are German enough to seem very similar to non-Germans, and not German enough to be confused with that rat bastard German in charge of moving artillery), and a soundtrack that could convince you to sign for a timeshare all on its own. It is possibly the feel good movie of the year, and it's an undeniably safe choice for entertainment, but the depth is all pretense, and "feel good movie," is more and more widely viewed as the flaw it is.

Like many Spielberg films, its effort is by way of broadest common denominator, and its most positive quality is that it looks amazing. Even I can't deny that it has its moments of fun, and at the very least puts a great deal of grandiose fun into a somewhat clever spin on war in general, but most of what you'll see serves best as a showcase for greater moments in other films. Those with trench truces are too numerous to mention, as are those with Germans searching houses for people (though somehow this one makes Christoph Waltz' opening scene in Inglourious Basterds stand out), and those with even a passing cinematic history behind them will get little out of the film that is ultimately more than a wash of emotions other films have actually brought to bear.

Rating: ★★★½☆ 

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Joss Whedon obviously likes to get his hands into a variety of projects, and now he's taking a shot at reworking the horror genre. The Cabin in the Woods, as you'll see from the trailer below, starts off in a way that is all too familiar, but we soon learn that there is a serious twist at work.

If the trailer is any judge, it looks like this one is going to add some serious fun, and a new layer of thrills to the standard play of the "alone in the woods" sub-genre. Whatever is going on exactly, it's high-tech craziness mixed in with the gore and slash.

Check it out below.

THE CABIN IN THE WOODS was co-written by Joss Whedon (BUFFY THE VAMPIRE SLAYER) and Drew Goddard (CLOVERFIELD, LOST), and is Goddard's directorial debut. Starring Chris Hemsworth (THOR), Richard Jenkins (LET ME IN) and Bradley Whitford (THE WEST WING), the film will be in theaters everywhere April 13th, 2012.

Photo courtesy Lionsgate

Five friends go to a remote cabin in the woods. Bad things happen.

If you think you know this story, think again. From fan favorites Joss Whedon and Drew Goddard comes THE CABIN IN THE WOODS, a mind blowing horror film that turns the genre inside out.

Produced by Whedon and directed by Goddard from a script by both, the film stars Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins and Bradley Whitford.

Offical Website: http://www.discoverthecabininthewoods.com

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

One of the curiosities of films that focus on gays and/or lesbians, especially considering the trend of growth the genre is seeing, is that audiences are going to be asking themselves if the fact that these characters are homosexual is actually doing any work. I'm not sure they should be asking that question (and I'm not sure they shouldn't), but I know they're going to be. When it doesn't seem that this question is legitimately answered affirmatively, it can make the film a strange experience. This is all the more true when it seems the filmmakers expect the answer to be an obvious, "yes."

The Green focuses on Michael (Jason Butler Harner) and his partner Daniel (Cheyenne Jackson), who moved to smallish town Connecticut to get away from the big city life in New York. Michael is a school teacher, and Daniel has set up shop as a caterer/event planner (I think). They've been together some fifteen years, and though Daniel was perhaps not quite so keen when it came to their relocation scheme, life seems to be working out pretty well.

Everything begins to unravel, however, when Michael is accused of inappropriate conduct with one of his students. Not only does Michael get suspended, but the aftermath of the mere accusation begins to tear apart everything in Michael and Daniel's life, and the small town isn't particularly friendly towards the couple anymore. Contract don't want to work on their house, customers start to cancel the affairs they've lined up through Daniel's business, and that's just for starters. Meanwhile, Michael is trying to figure out how to stay out of jail, despite the fact that he isn't completely sure an actual accusation has been made exactly, and now that he's being investigated, some secrets he's been keeping from Daniel rear their ugly heads as well.

The couple and a few key friends try to figure out how to make it through the mess, and Michael remains concerned for the student that was doing so well only a few short months ago, and through it all, tempers flare and personality conflicts get thrown out of proportion in the way that only such a massive attack on one's character can bring about.

The plot itself plays out, more or less, exactly as you'd expect every step of the way, but the fact is only mildly problematic. The effort is really more playing the thing out, than the formulation of any new spins or twists, and it's the character creation and expression that drives us along.

That said, as I hinted at earlier, there comes a point when the sexuality question begins to nag at you as a viewer. Those that keep an eye on the media at all surely know that when it comes to ignorant, knee-jerk reactions, and the full-blown ostracism of anyone accused of any kind of "inappropriate touching" of minors, we have found the arena in which homosexuals and heterosexuals enjoy equality. This, together with the overall impression that the "ultimate" truth of our scenario is rather obvious, and the fact that apart from the sexuality issue, this doesn't strike as being anything we haven't seen before, make for a curious viewing experience.

In the end, there are some fine performances here, especially by the leads, but there is some richness of purpose that seems lacking. As I said, it's a struggle to find the real "work" that the sexuality inherent in the film is doing, and it seems that the film intends that it be doing some.

Still, that curiosity aside, The Green is on solid ground when it comes to the level of craft at work, and for all that it may seem that there would be little subtlety to such a situation, it is the small moments (even if they involve shouting) of human interaction that pull you in and make the film what it is. I would lean toward the idea that the homosexuality is in a certain sense irrelevant, being only the story of two people who happen to be gay, and the final result might have a stronger overall effect, but I don't have the impression that is the way the film is leaning.

Rating: ★★★☆☆ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Another giveaway for you, this time for a film that looks pretty impressive, and stars one of my personal favorites, Richard Coyle.

5 Days of War is a thriller about a journalist caught behind enemy lines during the war between Russia and the Georgian Republic. Inspired by real events, it's an intense look at not only surviving in such a situation, but also a devastating war that was over so fast most people hardly had a chance to notice it.

I have two copies of the DVD available, and all you have to do is leave a comment to be entered. Winners will be randomly selected on December 10th. U.S. only.

Check out the info below, don't miss the trailer, and then enter for your chance to win.

ANCHOR BAY FILMS PROUDLY PRESENTS 5 DAYS OF WAR A FILM BY RENNY HARLIN STARRING RUPERT FRIEND, EMMANUELLE CHRIQUI, RICHARD COYLE, ANDY GARCIA and VAL KILMER

Available on Blu-ray™ and DVD November 29, 2011

Anchor Bay Films is proud to announce the release of 5 DAYS OF WAR on Blu-ray™ and DVD. This action-packed international thriller from acclaimed director Renny Harlin (Die Hard 2, Cliffhanger) is based on the true events of a renegade American journalist, his cameraman and a local woman caught behind enemy lines during the devastating five day war between Russian and the Georgian Republic. 5 DAYS OF WAR arrives on Blu-ray™ and DVD with bonus features including a commentary track by Producer/Director Renny Harlin and deleted scenes.

5 Days of War is an intensely human portrayal of courage under fire, combining heart-pounding action with real human drama. Inspired by the real events of the swift—but devastating—five-day war between Russia and Georgia in 2008, this action-packed international thriller centers around an American journalist (Rupert Friend) and his cameraman (Richard Coyle) caught in the combat zone during the first Russian airstrikes against Georgia. Rescuing Tatia (Emmanuelle Chriqui), a young Georgian schoolteacher from the attack, the two reporters agree to help reunite her with her family when she loses them in the chaos in exchange for serving as their interpreter. As the three attempt to escape to safety, they witness—and document—the devastation from the full-scale crossfire and cold-blooded murder of innocent civilians.

They desperately attempt to broadcast the footage they’ve captured while under attack from the Russian soldiers and local mercenaries, but are met with resistance from American and international networks either shorthanded from covering the Beijing Olympics or simply fatigued by war news. The trio realizes their survival is paramount, so they can live to broadcast the truth.

From writers Mikko Alanne and David Battle, 5 DAYS OF WAR features an all-star cast including Rupert Friend (Young Victoria, The Boy in the Striped Pyjamas), Emmanuelle Chriqui (HBO’s “Entourage,” You Don’t Mess With The Zohan), Richard Coyle (Prince of Persia), Andy Garcia (City Island, Oceans 12), Val Kilmer (Kiss Kiss Bang Bang, Batman Forever), and proves director Harlin to still be the master of the high-octane action genre.

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

As I walked out of the theater, my son (10) asked if The Muppet Show really used to be on TV, and you could see in his eyes that he was hoping it did, because then he could ask if we could get the DVDs. I told him it was, and recounted some of the memories of watching it every Sunday night. I could tell that I lost him somewhere along the way, as I tried to put together the idea of the weekly event that it was for me. My son, who by way of DVDs, Netflix, and Tivo, only has a vague idea of "live" television, and imagines it only in the anachronistic way that children try to conceive of archaic ideas thrown into the rest of the world they know (like people riding horses down paved streets with stoplights, or taking responsibility for their actions), didn't quite know what I was talking about... but he liked the sound of the idea.

That exchange summed up The Muppets for me, because while the vast array of other Muppet films have been entertaining efforts, they are very different beasts from the creature The Muppet Show was. Still filled with the zaniness, and the same brand of general humor, sure, but they aren't replacements for the true event that featured the biggest names anywhere, and showcased the purest form of Jim Henson's magical persona and philosophy that kids are people in all but height, and adults are kids in all but their tendency toward being sour, cranky bastards.

Our story is that of brothers Gary (Jason Segel - who also wrote the screenplay with Nicholas Stoller) and Walter (who is a Muppet), and their trip to see the Muppet studios. It's a trip that starts out as a vacation for Gary and his girlfriend Mary (Amy Adams) to celebrate their 10th Anniversary, but since we're so close, and Walter is the Muppets biggest fan, we're bringing him along.

The brothers discover that the Muppet studios are rundown beyond all hope, and that oil baron Tex Richman (Chris Cooper) is going to get the land and level the place unless the Muppets can come up with $10 million. This is bad enough on its own, but the real crusher is discovering that time really has passed the Muppets by, and no one cares about them anymore, not even them. Kermit sits alone in what used to be his home with Piggy, Fozzy is working a lounge act at a dive casino in Reno, and generally the whole gang has gone their separate ways, getting by any way they can.

Photo: Scott Garfield

Gary and Walter convince Kermit to take on the task of getting the gang back together and putting on a fundraising special to save the old studios, but things don't come together as easily as we might hope. Miss Piggy is an editor at Vogue Paris (or whatever), and she isn't interested in leaving. The happy couple's troubles are hinted at, and have much to do with Kermit's lack of attention. Then we have the problem with the networks, as we find that none of them are interested in airing the special. We get a handy graph showing the tiny speck of interest remaining for The Muppets in the collective consciousness, and that isn't going to get ratings.

The Muppets are going to give it their all come what may though, and they aren't going to let absent pigs, or the evil machinations of an oil tycoon stop them... maybe.

In a world that has run out of ideas, and for lack of anything better dredges up reworking, re-releases, and/or sequels that cover everything that can be mined from days long gone, here is a film that proves that there are a few things worth revisiting. The story we've pieced together is simplistic, but serves as well as any, because whatever play we might have landed on, it doesn't matter any more than if any particular episode of The Muppet Show featured Pigs in Space. The only thing that really matters is that we call out the donkification of television over the last three decades at least, turn up the screwball antics, break the fourth wall, sing goofy songs, light the lights, and get things started. In short, we get to watch The Muppet Show again.

Photo: Scott Garfield

Segel delivers well, giving us a character that is wonderfully Muppet-esque in over-the-top, goofy performance, and Amy Adams is right there with him. More importantly, considering Segel's role as screenwriter, the humans involved are all brilliantly "sort of there," even in the few scenes that don't include any Muppets at all. On a side note, a musical number near the end that has Gary and Walter doing individual versions of (Am I A) "Man or Muppet" features one of the coolest cameos in years.

That said, this is not a film where the critic can play his normal game any more than it is a normal film. The story worked, the actors did great jobs, the jokes and rhythms were quintessentially Muppet, it was hilarious, and overall giant bags of fluffy fun... but that still doesn't quite mean anything. At least, not to me.

For ninety-some minutes I was back in a place where we still had a 50" TV, but the screen might have been 19", and you stole into the great, orange beast of a chair and tried to be quiet as a mouse so no one would notice (because that was Dad's chair), and you laughed your ass off at things you didn't completely understand, because the Muppets seemed to think it was funny, and there was everyone else, huddled around, doing the same.

And then, my son looked up at me and said he wished he could go there too, and I said,

"Mah Na Mah Na."

Rating: ★★★★★ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

I have a special giveaway that I really want you to take a look at today, because this is a movie that is destined to become one of the unsung heroes of 2011. It's received a lot of critical acclaim and done well at festivals, and you don't want to let this one slip past you.

Check out some more info below, and don't miss the videos embedded below. Then just leave a comment with your answer to the question below, and you are entered to win one of 3 copies of the Blu-Ray combo pack.

Winners will be randomly selected on December 8th. U.S. only.

Win a copy of ANOTHER EARTH, out on Blu-ray Combo Pack November 29

Winner of the Special Jury Prize & Alfred P. Sloan Film Prize at the Sundance Film Festival, ANOTHER EARTH is the story of Rhoda (Marling) and John (Mapother), two people whose worlds collide after a tragic accident. Their intimate drama plays out against the astounding discovery of Earth 2, a parallel world that poses provocative and fascinating possibilities. Does a new Earth mean a chance at another life? Another destiny? Another self?

In his directorial debut, Mike Cahill brings this provocative indie sci-fi film to life with outstanding performances from newcomer Brit Marling (Sound of My Voice) and William Mapother (TV’s “Lost,” World Trade Center).

For your chance to win a copy of ANOTHER EARTH, simply answer the following question:

Who directed ANOTHER EARTH?

• Mike Cahill

• Brit Marling

• Gavin Wiesen

Follow Twentieth Century Fox Home Entertainment on: Twitter @FoxHomeEnt

On the night a mirror Earth emerges in the sky, two lives are intertwined in a dramatic incident that will change them both forever. In his directorial debut, Mike Cahill brings this provocative indie sci-fi film to life with outstanding performances from newcomer Brit Marling (Sound of My Voice) and William Mapother (TV’s “Lost,” World Trade Center). Winner of the Special Jury Prize & Alfred P. Sloan Film Prize at the Sundance Film Festival, experience all the heartache and passion when ANOTHER EARTH comes to Blu-ray Combo Pack November 29th from Twentieth Century Fox Home Entertainment. As an added bonus, consumers will receive two tracks from the band Fall On Your Sword, who provided the soundtrack to the film.

This "deeply emotional...extraordinarily profound" (USA Today) film became a must-see sensation at the Sundance Film Festival. "Beautiful, bright and fearless" (Associated Press) newcomer Brit Marling and fan favorite William Mapother (TV's “Lost”) star as Rhoda and John, two people whose worlds collide after a tragic accident. Their intimate drama plays out against the astounding discovery of Earth 2, a parallel world that poses provocative and fascinating possibilities. Does a new Earth mean a chance at another life? Another destiny? Another self? “ANOTHER EARTH is science-fiction at its best" (The Hollywood Reporter) -- with a mind-bending surprise ending that you will never forget.

ANOTHER EARTH Blu-ray Features:

• Deleted Scenes
• Music Video: “The First Time I Saw Jupiter” by Fall On
• Your Sword
• The Science Behind Another Earth
• Creating Another Earth
• Fox Movie Channel presents “Direct Effect with Mike Cahill,” “In Character with Brit Marling,” and “In Character with William Mapother”

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

When undertaking the task of translating the life of a famous historical figure for the purpose of cinema, discounting adventurous "left field" attempts such as Todd Haynes's Bob Dylan biopic I'm Not There, there are basically two approaches to take: the micro and the macro.

The micro approach selects a defining moment in the said protagonist's life and puts it under close scrutiny, so that we may get a better understanding of the man (or woman) through their actions in some crucial period of their life. The macro approach seeks to find an all encompassing view of the human being by tracing their origins (either from birth or some adolescent period), all significant relationships and events in their life, and the legacy left after their death, fashioning an underlying theme to tie together the hero's existence like a pretty ribbon atop a Christmas present.

A great illustration of the micro biopic is Lawrence of Arabia. Although the film does start with his death and funeral, we do not see T.E. Lawrence age before our eyes, nor are we privy to his early childhood or the nature of his relationship with his parents. All we are shown is a particular moment in the man's life (in this case, Lawrence's adventures and delusions in WWI-era Arabia) and his reaction to these events. Any explanation for the man's personality before or after these events is not given.

A prime example of the macro approach is Taylor Hackford's Ray Charles biopic Ray. In Ray, like the Ghost of Christmas Past, we tour Ray's entire life. From his traumatic childhood (including the beginning of his blindness), to his rise to fame, to his drug and womanizing habits, to every important relationship in his life, we watch Ray age until he's an old (and inevitably "wiser") man and make all the rounds on the way there.

By stacking the deck and comparing Lawrence of Arabia to Ray, I'm afraid I've shown my hand in which side of the micro vs. macro debate I'm on. While there are always exceptions, in this humble reviewer's opinion, the micro approach has some undeniable inherent advantages over the macro approach. For one, the macro approach's implied notion that the very essence of a man's life can be summed up in a few key events in the matter of a couple of hours on screen is a bit offensive to someone with existentialist leanings such as myself. The macro approach also tends to have the unintended (at least I think it's unintended) consequence of being patronizing towards its audience, assuming that without being told so, the audience would not be able to draw any thematic resonance through the events of protagonist's life.

The micro approach on the other hand respects its audience enough to let them draw their own conclusions, as well as honoring the subject's life by not boiling down his/her existence to a catch phrase or line of dialogue. Instead it seeks to capture one aspect of the human being honestly, thereby celebrating the individual as a living entity (whether they have passed on or not), instead of memorializing them as some mythical historical creature. This is why it pains me to report that, unfortunately, J. Edgar is firmly in the macro camp.

(L-r) LEONARDO DiCAPRIO as J. Edgar Hoover and ARMIE HAMMER as Clyde Tolson in Warner Bros. Pictures’ drama €œ"J. EDGAR",€ a Warner Bros. Pictures release.

For the historically adverse, J. Edgar Hoover was one of the most powerful individuals in 20th Century America (perhaps the world). The first director of the FBI (previously known as the Bureau of Investigation), Hoover made the FBI into the all-powerful (maybe too powerful) crime fighting machine that it is today. Hoover also revolutionized criminal investigations into the scientific endeavors they have now become. Every CSI and CSI-clone on television owes a debt to J. Edgar Hoover, for it was Hoover who introduced forensic science (including the creation of a centralized fingerprint database) as the modus operandi for all crime scenes.

At the start of the film, we find J. Edgar (Leonardo DiCaprio) an old man at the twilight of his career. Dictating his life's tale in order to carefully manage his legacy even after his death, we flashback to J. Edgar's early days, before he became "J. Edgar". We start with the formative experience of J. Edgar's career, a 1919/1920 Bolshevik "insurrection". Marxist anarchists simultaneously bombed a number of houses belonging to powerful Washington politicians and bureaucrats, as well as shot up a bunch of WWI-veterans during a parade, which gave Hoover his life long goal: destroy all underground Communist currents existing in America. Like a man on a mission from God, Hoover systematically uprooted anarchist rebels and used this success to build the federal police force he had always dreamed of.

The film does a deft job at handling the historical elements, and this is unquestionably when J. Edgar is at its strongest. While Hoover was undoubtedly afflicted with Red Hysteria, there actually existed a serious threat from Marxist rebels at the end of the First World War, and to see a film shine a light on this unexplored part history is quite fascinating. The film also spends a considerable amount of time on the investigation into the kidnapping of the Lindburgh baby, which is another area where the film excels. In these scenes we not only get a strong sense of time and place, but we also get insight into the obsessive and egomaniacal personalty of J. Edgar Hoover that was likely paramount for him to achieve the level of success he did in his illustrious career.

Alas, the film is not satisfied to tell this simple but intriguing story, and chooses to spread itself thin to its own detriment. As with all macro biopics, J. Edgar has an incessant need to capture each and every angle of the life of J. Edgar Hoover, as if the story of a man possessed, building the most powerful and influential police agency in the history of mankind, is somehow incomplete. We get then a film that is not only a historical epic about one man's life's work, but a companion film, a love story, and another creepy mother-son relationship that borders on Norman Bates territory.

(Left) LEONARDO DiCAPRIO as J. Edgar Hoover and NAOMI WATTS (fourth from left) as Helen Gandy in Warner Bros. Pictures’ drama "€œJ. EDGAR,"€ a Warner Bros. Pictures release.

The fact that the film is this scatterbrained is bad enough, but it doesn't help that the non-historical aspects of the movie are terribly executed. The latter half of the film is particularly preoccupied with exploring the relationship between J. Edgar and his right-hand man, Clyde Tolson (Armie Hammer). The relationship between these two men is a controversial one, some believing it to be a full-blown homosexual partnership, while others just describe the two as very dear friends. The film pretty much takes the side of the former, portraying the two as sexually repressed partners, but frankly the historical accuracy of their relationship is beside the point.

The film abuses the notoriety of homosexuality in the early 20th Century for its own exploitative purposes, never genuinely delving into details of their complicated relationship, but throwing together a formulaic love story for the simple fact of questioning J. Edgar's sexuality. This abuse culminates in the film's worst scene, taking place shortly after his mother's death. I won't get into the specifics of the scene, but its sanctimonious, melodramatic nature, betraying the intended importance of the scene to the filmmakers, instead comes off as laughably hokey, and even a bit juvenile.

While I'll admit there is some poetic justice to the man who popularized bending the law to see justice served as "Dirty Harry" Callahan directing the film about the man who did the same in real life, J. Edgar Hoover, Clint Eastwood is clearly in over his head with this material. While I admire parts of Eastwood's oeuvre as a director, subtlety has never been his strong suit. Even in his so called masterpiece, Unforgiven, the film's themes are painfully obvious, and the lack of tact in delivery of message is an unforgivable sin in J. Edgar. Eastwood's insistence on well-rounded characters, whose flaws are always explained away from some hardship in their life, is also an annoyance that is a significant setback for the film.

In terms of aesthetics, Eastwood's penchant for working in desaturated colors gives J. Edgar the feel of a gray make-believe dream world. My guess is the decision was made as a guard against potential criticism of anachronism in the film's art direction (as this seems to be a common choice for modern cinematic interpretations of yesteryear), but the result just feels inauthentic. If this trend continues, kids in the future will likely believe that color was an invention of the late 20th Century.

LEONARDO DiCAPRIO as J. Edgar Hoover in Warner Bros. Pictures’ drama "€œJ. EDGAR,"€ a Warner Bros. Pictures release.

The film does have a reliable anchor in its lead performance from Leonardo DiCaprio. It's true that DiCaprio slips in and out of the accent, but acting should first and foremost be about creating a character, not mimicry, and in this department DiCaprio draws you into the world of J. Edgar Hoover. Compared to other performances of famous historical figures, DiCaprio's turn as J. Edgar Hoover will not go down as one the greatest in the history of cinema (it falls short of say Philip Seymour Hoffman as Truman Capote, Robert De Niro as Jake La Motta, or even DiCaprio's own performance as Howard Hughes in Martin Scorsese's The Aviator), but its a solid performance that affirms DiCaprio's spot as one of the best in the business.

As for the rest of the cast, the performances are hit and miss. The actor with most screen time beside DiCaprio is Armie Hammer (famous for his double performance as the Winklevoss twins in last year's The Social Network), and while his performance starts on a high note, as the film progresses and increasingly indulges itself in melodramatic fetishism, Hammer's performance devolves into histrionics. Eastwood is famous for his laid back approach to handling actors, but a little more guidance would have done a world of good in this case.

J. Edgar Hoover had a fascinating life, a life that is inevitably intertwined with history of America. When the film J. Edgar focuses on this history, it's a compelling tale that highlights the positive aspects of the biopic genre, but when the film strays from this narrative, it exemplifies all the worst habits of the genre that give legitimacy to everyone who routinely deride it as "awards bait". I am still convinced a great film about the life of J. Edgar Hoover can be made, but J. Edgar is not that film.

Rating: ★★★½☆ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Mark you calendars for a film that is getting a lot of critical acclaim, and just looks like a great old time. Tilda Swinton and John C. Reilly star in a film about (apparently) an evil child and how a mother deals with... her evil child.

Not exactly something that you want to save for that special date next January, but it is getting some buzz.

A suspenseful and gripping psychological thriller, Lynne Ramsay's WE NEED TO TALK ABOUT KEVIN explores the factious relationship between a mother and her son. Tilda Swinton, in a bracing, tour-de-force performance, plays the mother, Eva, as she contends for 15 years with the increasing malevolence of her first-born child, Kevin (Ezra Miller).

Based on the best-selling novel of the same name, WE NEED TO TALK ABOUT KEVIN explores nature vs. nurture on a whole new level as Eva's own culpability is measured against Kevin's innate evilness. Ramsay's masterful storytelling simultaneously combines a provocative moral ambiguity with a satisfying and compelling narrative, which builds to a chilling, unforgettable climax.

Distributor: Oscilloscope Laboratories

Cast: Tilda Swinton, John C. Reilly and Ezra Miller

Running time: 112 minutes

Theatrical Opening Dates:

December 9th - New York and Los Angeles - Qualifying run

January 27th 2012 - New York and Los Angeles - Commercial release

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Margin Call is a night in the life of a group of poor schmucks who work at multi-billion dollar investment firm. Set in the early stages of the 2008 crisis, the film revolves around the events following the discovery of an error in a predictive algorithm (or whatever) the company has been using to package stocks to trade as a single entity (or something).

We enter the film on a downsizing day, and one of the bigger fish in the companies risk management division, Eric Dale (Stanley Tucci) is being let go, along with most of the people who work on his floor. On his way out, he hands a flash drive to a young hotshot at the firm, Peter Sullivan (Zachary Quinto), and tells him to take a look at it. It's something he's been working on, but the firm won't let him finish it. He also tells him to be careful.

It's just another day at the office for those who are left, or so says the head of the department, Sam Rogers (Kevin Spacey). In fact, he takes it as a point of encouragement, because if you're still here, then are a lot less people in your way as you try to move up.

When everyone else leaves, Peter is too intrigued by the flash drive and the ominous message to leave it alone, and he stays late to see what Eric was so interested in. It's apparently an analysis of the numbers game the firm is running with a lot of their investments, and after fidgeting with the work Eric had started, he discovers that there is a flaw in the firm's risk assessment of their stock bundles. In fact, the error hidden at the heart of all those numbers swimming around is so big that a minor fluctuation in the market could leave the firm with losses greater than the entire value of the company.

Peter has no idea what to do, and we see the panic race up the food chain, as Peter calls in his boss, Will Emerson (Paul Bettany), who calls in his boss, Sam, who calls in his boss, Jared Cohen (Simon Baker), and we eventually get to the King, John Tuld (Jeremy Irons). The race is on now, because Peter made his discovery at around 11:00 pm, it takes time to circle the wagons, and something better be set to happen by opening bell tomorrow. To make matters worse, no one can find Eric Dale, and they'd like his insights.

In roughly eight hours, the whole world will change, and a small group of people have to decide how they're going to handle things. There's a trillion dollars at stake, and the firm wants to still exist at the end of the day.

While the tension plays out well, and the cast is superb, there's something about the film's entry to the drama that many will find strangely hollow. It eventually becomes worth watching based on this fact alone, but perhaps in a way more related to film class than entertainment. I imagine many will succumb to the intrigue of a behind-the-scenes look at a powerhouse investment firm at a time when things have gone horribly wrong, but the average audience member is apt to wonder how he is meant to invest (ha).

The firm has few options as it sees its demise not only looming, but short hours away, and one of those options is to dump as much as it can of something that is basically worthless. It looks to have a lot of value on paper, but whoever they can get to buy it is going to lose big. Better him than me. Of course, the firm is going to take a major hit even going this route, but not so much that they won't pull through. There are other options, naturally, but they aren't very appealing, and for all that they may be the "right" way to go, it's hard to see how to get them to come to fruition right now.

Thus, players in a vast hierarchy have to find what side they're on, and how they are going to play things themselves. Each rung on this firm's ladder is its own universe, and knowing who has your back is as tricky as predicting the market. After all, 80% of the people you worked with personally were sent home earlier today, and that was before anyone knew about this problem.

But, as we watch the "entry level" players talk about making around a quarter of a million last year, and his boss reveal his expenditure list that ate up his more than 2 million, and we wonder what his boss makes, despite talking about needing the money, do we really care?

That's a difficult question to deal with in this case, because the film is so focused on laying out the life, and the inner workings of the firm, that it doesn't spare a lot of effort making sure audiences have something to really lure them in. Everything plays as though riddled with tension, as we would expect, because the characters are certainly rather nervous, but it never becomes a tension that includes the viewer. It's the common problem with films focusing on characters that aren't especially likable, and this time around there isn't much to captivate. That's a shame really, because the actors are giving great turns here, and it might easily have been a memorable work just for the ensemble effort.

Rating: ★★★½☆ 

Margin Call stars Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker and Mary McDonnell with Demi Moore and Stanley Tucci. The film was written and directed by J.C. Chandor.

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American audiences probably don't get much out of knowing that Submarine is written and directed by Richard Ayoade, and that's a shame in itself. The best chance is via BBC America and/or Netflix streams of The Mighty Boosh, or the brilliant The IT Crowd, but odds are that you haven't heard of him. The real shame of this is that you have no chance of being truly astounded by the depth and pointed genius you'll find here, and there's really nothing like a dumbfounded, "Moss directed this!"

Submarine is a sort of coming-of-age story, but it focuses on Oliver Tate (Craig Roberts), a young man who came of age long ago and is rather trying to find his way back at this point. His parents are an odd mix of liberal thinking and catatonia, and Oliver has run through a wide spectrum of "trying to figure out who he is," at least in part because his parents are giving him little to work with. Worse, his mother's old flame, a self-help, spiritualist... something, has moved in next door, and Oliver fears the worst, apparently with good reason.

Of course, Oliver's real problem (apart from being in High School while simultaneously being decidedly odd) is a girl. Jordana (Yasmin Paige) is his current crush/fixation, and Oliver isn't the sort of lad to go in any direction with a crush other than full-scale, calculated obsession. Jordana is a bit odd herself, impressed apparently with acts of bullying, fire, and minor flights of wanton destruction. Oliver approaches the Jordana problem as we might expect given his state of near-terminal "wise beyond his years-ness," and not only plots various undertakings calculated to appeal to her sensibilities, which he isn't necessarily fond of (like his efforts at a kind of awkward, pseudo-bullying of the fat girl at school), but he also plots plots themselves, as another level of effort to woo her. Not only, as it were, are these the sorts of things I do, but these are the sort of plots I plot.

Wandering what seems a turbulently random sea of life, Oliver schemes toward his dual goals of winning over Jordana (and, well... bedding her, naturally), and keeping his mother from straying. Armed with clear goals, bags of intelligence, and a surprisingly sharp intuition, but none of the wherewithal that comes from life experience, Oliver shoots for his goals with the reckless cluelessness of any other teenager, and finds himself facing similar results. Unfortunately, it seems to turn out that being really clever, and having an adult outlook on life only manages to give you a staggering appreciation of your societal impotence, and a soul-crushing cognizance of just how much you've screwed things up.

This quirky, somber adventure pulls the child out of you, and captures youth, love, and raw emotion in a way few films have ever managed. Better still, it does it all in such a fresh, vibrant way that it spins a kind polar viewing experience that is utterly mesmerizing in its effectiveness. The slowest, most passive scenes, including several involving Oliver's uber-depressed father (worked brilliantly by Noah Taylor), become riveting, and the few fast-paced jaunts of "action," turn into the equivalent of the reflective moments which we're accustomed to being the "slow down" scenes.

The only rub to come from this fun and exceedingly incisive jaunt through youth is that it is hard to imagine that Richard Ayoade is on the verge of the opportunities he to be as a result. The fullest measure of writing talent can't quite be given over to him, because it's based Joe Dunthorne's winning novel, but in terms of the ability of translation and direction, the brilliant, instant-classic efforts we aren't in store for in the near future is nothing short of tragic.

Submarine takes you on a wild ride that so well embodies the furious effort toward nothing that is youth, and more importantly youth today, that it is hard to imagine that virtually everyone will not see themselves in Oliver, despite the utterly outlandish portrayal of his particular highs, lows, and windmill tilting. For all that he brings forward the most logical-seeming (if only to him) plans, and even given his philosophic insights and psychiatric acumen, Oliver somehow cannot find a way around meeting the harsh realization that no one is flying this bloody plane.

Well..., that's something like how he sees it anyway.

Rating: ★★★★★ 

Win it here!

To enter, just leave a comment below, and you are automatically entered to win your very own copy of the DVD release.

Winner will be randomly selected on October 28th. U.S. only.

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Related articles

• Submerged in a Sea of Hormones: 'Submarine' (Review) (popmatters.com)
• Submarine, DVD review (telegraph.co.uk)

© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

The Big Year is the sort of vehicle that will cause critics and audiences alike equal difficulty in discerning why and how it ever got made in the first place (which is not necessarily a bad thing). An indie film in all but budget, stars, and well... 20th Century Fox, it's a slow, meandering "comedy" that isn't exactly funny, and doesn't offer much insight when it comes to what it thinks you ought to be getting out of it. At least, not until the very end, when it didn't need to say anything anyway, and probably shouldn't have.

Normally, working out how a film came together is neither here nor there, whether looking at something as a critic, or simply as any fan of film, but I suspect a lot of people are going to wonder about this one, and I think in this case it's worth looking at for more than that moment of curiosity that is sure to hit everyone. Once we get Steve Martin, Jack Black, and Owen Wilson in the film, and allow for guest spots from Jim Parsons, Kevin Pollak, Joel McHale, Brian Dennehy, Tim Blake Nelson, Anjelica Huston, and more, you have to know that a good chunk of the film's roughly $40 million budget is gone. Plus, we at least faked a lot of locations, which costs something.

Add in the fact that the ROI on movies about birding can hardly be expected to be in the "easy money" category no matter who you get to be in it, and you'll see that wondering about the creation of this film is something that actually does a lot of work.

Jack Black has the lead role as Brad Harris. A decidedly average individual, Brad is 36, divorced, may or may not live with his parents, and has a less than fulfilling job, which naturally involves a cubicle. He has a passion though, and that passion is birding. Despite his limited means, and the fact that he can't quit his job, Brad has decided to go for his dream, a "big year." A grand adventure of the birding world, a big year is when you try to see as many different varieties of birds as you can within one calendar year. This is obviously something to tax the budget, and not the sort of thing your parents see as a truly wise move when you're 36, and seem to have no life.

The current king of the big year is Kenny Bostick (Owen Wilson), who managed 732 back in '03, and is going after the record again, largely because he's scared that this may be a good year for someone else to pass him. His new wife reminds him that his effort in '03 is probably what ended his marriage with his old wife, but he's on a mission, and being the best in the world at something is hard to ignore, no matter what it is.

Comedy icons Steve Martin, Jack Black, and Owen Wilson star in THE BIG YEAR. 2011 Twentieth Century Fox - P/C Murray Close

Rounding out our trio is Stu Priessler (Martin). Stu has a multi-million dollar company to run, but he's finally going to retire (again), and he's going to kick off his retirement with a big year. His right-hand men don't want to let him go though, and they aren't going to make it easy. Stu has always wanted to do a big year, but it's hard to get that kind of time when you start a company from your garage and turn it into something worth more than you ever dreamed... and you have a family.

As our story progresses, we learn that Bostick really is something of a legend in the birding community, but he didn't exactly make a lot of friends during his '03 trips across North America. We also find out that if you're going for a big year, there are certain places you really have to go if you want a shot at a big number, and you have to go there at certain times. Thus, our three birders run into each other with some frequency. Brad and Stu become friends, united in their efforts to outdo Bostick, and generally, hilarity ensues, but not an especially funny sort of hilarity.

We follow the three birders as they not only cover countless miles trekking back and forth across North America, but we also watch their returns to real life, brief as they may be, and the pieces of their individual puzzles come together more in the exploration of what they leave behind (and how hard it is), than in any relating of their truly massive adventure. These home moments are perhaps overly simplistic at times, but they are remarkably real nonetheless, and as Martin's character serves to reveal, it isn't so much why, how, and what you're obsessed with, it's just a question of where you are... no matter where you are. As the old saying goes, no one on his deathbed ever said, "I wish I'd spent more time in a bog staring at birds."

The tagline of the film is the somewhat underwhelming, "Everyone is searching for something." In a trip that covers the peaks of mountains, remote islands, and too many states and locales in Canada to mention, one of these three men only saw birds. The other two had A Big Year. What makes the tagline rather clever is that none of these three men knew what they were looking for, none of them find it by searching for it, and they all (one of them misguidedly) come to the rare realization that finding something doesn't mean you stop searching for it.

Tim Blake Nelson, left, and Owen Wilson look to the skies for inspiration during the biggest year of their lives. 2011 Twentieth Century Fox - P/C Murray Close

As Brad will explain to us, this is a "competition" that really has no prize. What you get, to quote Pete Aron, is that, "you get to win," but more importantly for this film, you get to have done it. Considering no one is getting rich here, and none of these people are really desperate for work, it puts a spin on figuring out how this film came together.

Ultimately, the film could have benefited from going over things a few more times. We might have taken a couple more months to run over the script, and had more eyes on things (especially considering the comedic talent available), but it just isn't that sort of movie. You get the idea that things were a bit rushed, and to be honest, nothing that's actually funny happens. The mass appeal (and even critical appeal most likely) is somewhere on par with that of birding itself, which is to say that the majority of people will get nothing from it, but a select few will fall in love.

Nevertheless, to borrow a mode of expression from one of our stars, few actors on their deathbeds every said, "I wish I'd have spent more time making movies like Marmaduke."

Rating: ★★★★☆ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

There's a bit of a treat in store for Scorsese fans, and it will be hitting newsstands October 25th. The November issue of Harper's Bazaar features photos of some big stars re-envisioning Scorsese classics, and discussing the man himself.

Take a quick peek below, and get a glimpse of a few of the images.

Harper’s Bazaar collaborated with famed director Martin Scorsese on a portfolio recasting some of his most memorable scenes, featuring stars including Christina Hendricks, Kate Bosworth, Emily Blunt, Michael Pitt, Sir Ben Kingsley, Chloe Moretz and Keanu Reeves in the magazine's November issue, on newsstands October 25.

Keanu Reeves and Chloe Moretz recreate an iconic scene from Taxi Driver, with Moretz channeling Jodie Foster in her classic, controversial role.

Emily Blunt is the star of Alice Doesn’t Live Here Anymore.

Vincent Piazza, Michael Pitt and Sir Ben Kingsley are Goodfellas.

Christina Hendricks and Jack Huston are recast in a scene from The Gangs of New York.

Plus, celebrated actors and Scorsese collaborators, including Jodie Foster, Tom Cruise, Sir Ben Kingsley, Winona Ryder, Sharon Stone, and more, tell their own tales about one of the world’s greatest storytellers.

Jodie Foster: “When we were shooting Taxi Driver, I think Marty was really uncomfortable with the fact that I was so young. The memory I have is of him and Robert De Niro trying to tell me how to unzip [De Niro’s] pants. And Marty keeps bursting out laughing. He can’t get a word out, and he tries to act serious, you know? He keeps smoothing down his face on both sides, but he just keeps laughing. And then De Niro decides he’s going to take over because he can do it.”

Chloe Moretz: "There's an aura about him. He knows how to get that thing that makes it a Scorsese film; it's completely unspoken. But I haven't seen Taxi Driver yet. My mom won't let me watch it."

Tom Cruise: "I met Marty a few years before I worked with him, in '82 in L.A. Then I was shooting Top Gun and he offered me The Color of Money to do with [Paul] Newman. When we started working together, Marty would just giggle. And it was wonderful because sometimes in the more violent scenes, like when I got pissed and was going down the stairs and throwing down the briefcase, you could just hear him giggle."

"At night, I'd go down to Marty's parents' room and have a family dinner. His mom Catherine's lemon chicken, the pasta—incredible. Even after we stopped filming, I'd go over to his parents' house and have Italian food any time I'd want. I'd call ahead, and they'd make my favorite dishes, and I'd stay with them for a night."

FULL STORY: http://www.harpersbazaar.com/magazine/feature-articles/best-martin-scorsese-film-scenes-1111

Photo credit: Jason Schmidt for Harper's Bazaar

Photo credit: Jason Schmidt for Harper's Bazaar

Photo credit: Jason Schmidt for Harper's Bazaar

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Coming to you on October 14th is a film that, I predict, is going to surprise a lot of people. Father of Invention, Directed by Trent Cooper (don't let Larry the Cable Guy fool you), and starring Kevin Spacey, Heather Graham, Camilla Belle, Johnny Knoxville, Craig Robinson and Virginia Madsen, is the kind of film that may well prove just crazy enough to work.

Given rather different circumstances, this might be one to write off (which is why it may look that way at first glance), but I have a lot of faith in Kevin Spacey and Heather Graham, and their ability to give this one just the right tone and comedic presence.

Take a look below, and don't let this one slip by.

Millionaire infomercial guru, Robert Axle (Kevin Spacey) loses everything when one of his inventions has a design flaw that accidentally chops off the fingers of thousands of customers. After serving eight years in prison, a disgraced Axle is released, and ready to redeem his name and rebuild his empire with a new innovation. However, Axle’s ex-wife (Virginia Madsen) has spent all of his money and moved into his house with her new husband (Craig Robinson). Out of desperation, he finds a part-time job as a janitor, and is forced to move in with his estranged daughter (Camilla Belle) and her over-protective roommates. Despite these setbacks he is determined to pitch his newest gadget and rebuild his infomercial empire. But the world has changed in the last decade, and Axle finds himself out of step with current technology, his family, and the self-confidence that made him king of the infomercials in the past. With all his wheels spinning, Axle soon realizes before he can be successful with his new creation, first he must reinvent himself.

 

Kevin Spacey stars in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

Heather Graham and Kevin Spacey star in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

Camilla Belle stars in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

Johnny Knoxville stars in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

John Stamos stars in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

Virginia Madsen and Craig Robinson star in Anchor Bay Films’ Father of Invention Photo Credit: Patti Perret Property of Anchor Bay Films

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

I suppose there is some chance that a person might just be opposed to anything that presents itself as a political thriller/drama, but barring a genre-bias, I don't suppose people need a lot of convincing beyond learning the cast of The Ides of March. George Clooney is certainly enough of a draw, and Ryan Gosling picks up pretty well where he leaves off.

Of course, I was actually referring to the fact that Philip Seymour Hoffman and Paul Giamatti are in it, but that could just be me.

Whatever your particular attraction might be, and I can't imagine there is none, the film looks sharp and intriguing, and it's coming in right on the heels of Gosling's success in Drive. Actually, it's been a while since such a film has been able to get me interested, and this could be the movie that takes over the award buzz for the rest of the year.

Thus, I wanted to get a couple of clips out, and make sure you know where you are with this one. How's it look to you?

The Ides of March takes place during the frantic last days before a heavily contested Ohio presidential primary, when an up-and-coming campaign press secretary (Ryan Gosling) finds himself involved in a political scandal that threatens to upend his candidate’s shot at the presidency.

Ides of March Trailer

Clip My Name Is Molly

Clip Tell Her

Directed by : George Clooney

Screenplay by : George Clooney & Grant Heslov and Beau Willimon

Based upon a play on the play "Farragut North" by : Beau Willimon

Cast :

• Ryan Gosling
• George Clooney
• Philip Seymour Hoffman
• Paul Giamatti
• Marisa Tomei
• Jeffrey Wright
• Evan Rachel Wood

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

If the Houser Brothers of Rockstar Games, the creative team behind the famous (or infamous depending on how prude you are) Grand Theft Auto series, relented and allowed a film version of the GTA series to be produced, and if they somehow maintained enough control over the project to inject some artistic fortitude into it and make it more than yet another Hollywood cash-in on a popular video game franchise, Drive might be the result.

In fact in a lot of ways, Drive is sort of an amalgam of the Playstation 2 trilogy of the Grand Theft Auto series. The movie takes place in Los Angeles (like most of Grand Theft Auto:San Andreas), has hot pink opening titles and uses synthesizer-heavy 1980's dance club music (a la Grand Theft Auto:Vice City), and for the first half of the film, has an almost totally silent protagonist who gets involved with people in the lower end of organized crime (similar to Claude in Grand Theft Auto III).

In particular, the film's brilliant opening, which finds our hero (simply referred to by his profession, Driver (Ryan Gosling)) in the midst of a getaway job as he momentarily outruns the cops and hides from the "eye in the sky", and then finally shakes the fuzz for good by using a sporting event at a famous L.A. landmark to his advantage, would have been the pitch-perfect beginning to a Grand Theft Auto movie.

Drive though is not derived from a video game, but a book of the same name written by James Sallis and adapted for the screen by Hossein Amini (whose previous work includes costume dramas such as The Wings of the Dove and The Four Feathers). The movie (and presumably the book) follow the exploits of Driver, a mechanic/Hollywood stunt driver who also works on the side as the getaway driver for criminals looking to pull heists.

Although Driver prides himself on his professionalism, he keeps his own council, holding would-be companions at arms length, until one day when he happens to strike up a friendship with his neighbor Irene (Carey Mulligan) and her young son Bencio (Kaden Leos). Driver quickly falls in love with them both, and despite the potential for rivalry, when Irene's husband and Bencio's father, Standard (Oscar Isaac), comes back onto the scene after being released from prison, Driver, in order to protect Irene and Bencio from harm, helps Standard pull a job so he can pay an outstanding debt he owes to some gangsters. Things go terribly wrong during the job and end up complicating matters to the point where it puts Driver's boss and confidant Shannon (Bryan Cranstan) in hot water with some Los Angeles Jewish gangsters, Nino (Ron Perlman) and Bernie Rose (Albert Brooks).

The story is simple enough and familiar to anyone with sufficient exposure to the "lone gunslinger with a vendetta" action genre that Clint Eastwood and Charles Bronson built their careers on. In fact, Amini and Danish director Nicholas Windng Refn strip this narrative to its most bare bone essentials, forgoing almost all character development. We don't know much about these characters and we're not really suppose to ask, just as the characters don't ask each other. Refn instead opts to use archetypes: the loner hero, the gangster villains, the love interest, and that's about as deep as it goes. Even the bonding sequence between Driver, Irene, and Bencio is done in a quick montage sequence that seems to be Refn's way of saying, "There, now they love each other. Now let's get on with it".

This skeletal structure approach is taken by Refn because more than anything, his primary concern appears to be the elements that make up the action genre, and in a lot of ways, deconstructing the genre and purging it of its awkward superfluous "serious" moments is a good thing. In your typical action flick, the heavy dramatic scenes meant to make us care about the characters and their decisions all too often only serve to accentuate the flimsiness of the plot, so trimming the fat off the genre is an inspired choice in this day age when the operative word for action films seems to be "bloated".

The problem is, if you're going to sacrifice character development, you better make up for it with some great mise en scene, and it's in this department that Drive doesn't fully live up to its potential. At times, it does fire on all cylinders, and these moments are golden. There are beautiful helicopter shots of the Los Angeles nightlife, with skyscrapers protruding into the air, and the car chase scenes are excellently shot, but the film fails to take advantage of the uniquely eccentric atmosphere that is the Greater Los Angeles Metropolitan area.

Specifically, the film relies on an overabundance of close-ups. Putting the camera close enough on a man's face to see the roots of his stubble seems to be the trendy thing to do these days. I guess the idea behind it is that being right in someone's face ramps up the intensity of the film, but making a film claustrophobic when you're shooting at locales as interesting as some places that Drive is shot in is a shame. I know it's not really fair to compare any film to Pulp Fiction, but when I think of the differences between the films' use of space in two similar hotel room scenes, and two similar apartment scenes (all locations that could only exist in Los Angeles or some derivative universe of Los Angeles), it's clear which of the two worlds really sticks out in your mind.

The film's cast all serve their purpose, most with significant aplomb, but as anyone who has seen the movie will tell you, the standout performance of the film comes from Albert Brooks. Brooks's Bernie Rose is one of the most pragmatic gangsters ever portrayed on film. Rose is not particularly enamored with his status as an "outlaw" on the "fringe" of society and all the glamor that comes with it, instead choosing to view his operations much as a broker views his stock investments. He doesn't revel in the violence required by his business, but he isn't afraid to use it either. In other words, he's one icy son of bitch, and Brooks plays him so to chilling effect. The only disappointing aspect of Brooks's performance is his lack screentime. Every scene he's in is immensely enjoyable, so it would have been nice if his presence made up a larger percentage of the film, but Brooks shines with the time he is given. We're still a few months removed from awards season, but as many Oscar pundits would tell you, don't be surprised to see Albert Brooks as a Best Supporting Actor finalist when the kudos fest begins (and deservedly so).

Brooks's brilliance shouldn't overshadow some of the other fine performances though. Both Ron Perlman, as Rose's relatively hot-headed partner in crime Nino, and Bryan Cranston, as Driver's unlucky mentor Shannon, really do their part to fill out the slightly empty feeling world of Drive. Oscar Isaac, as a lowly small-time Mexican gangster, playing the complicated role of rival/companion to Driver, also adds depth to what easily could have been a flat character. Ryan Gosling, putting his spin on the "strong but silent" male protagonist, does a convincing job as the reluctant hero, although in the beginning, I have to admit to suspecting his character may just be stupid. In the end though, the subdued performance draws you in and keeps you interested in the final outcome. The weak link in the ensemble is probably Carey Mulligan, but I have a hard time holding her accountable since her character isn't much more than a glorified prop, and she does the best with the little she's given to work with.

After reading a plethora of gushing reviews, and given Nicholas Winding Refn's Best Director win at the Cannes film festival, my expectations for the film were extremely high, and Drive didn't quite live up to the hype. Being the genre exercise that it is, I need to be able to buy into the world it creates, and something about the universe of Drive feels a little hollow. Even so, there are a lot of wonderful individual moments in the film, and combine these with Albert Brooks's laid back sinister performance as the gangster Bernie Rose, and Drive is definitely worth a go around.

Rating: ★★★★☆ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

This one looks surprisingly good actually, though... different. Especially considering it's Heigl... that could just be me.

Katherine Heigl brings Stephanie Plum - the popular heroine of Janet Evanovich's worldwide best-selling seventeen-book mystery series - to vibrant life in Lionsgate and Lakeshore Entertainment's ONE FOR THE MONEY.

A proud, born-and-bred Jersey girl, Stephanie Plum's got plenty of attitude, even if she's been out of work for the last six months and just lost her car to a debt collector. Desperate for some fast cash, Stephanie turns to her last resort: convincing her sleazy cousin to give her a job at his bail bonding company...as a recovery agent. True, she doesn't even own a pair of handcuffs and her weapon of choice is pepper spray, but that doesn't stop Stephanie from taking on Vinny's biggest bail-jumper: former vice cop and murder suspect Joe Morelli - yup, the same sexy, irresistible Joe Morelli who seduced and dumped her back in high school.

Nabbing Morelli would be satisfying payback - and a hefty payday - but as Stephanie learns the ins and outs of becoming a recovery agent from Ranger, a hunky colleague who's the best in the business, she also realizes the case against Morelli isn't airtight. Add to the mix her meddling family, a potentially homicidal boxer, witnesses who keep dying and the problem of all those flying sparks when she finds Morelli himself...well, suddenly Stephanie's new job isn't nearly as easy as she thought.

Starring Katherine Heigl, ONE FOR THE MONEY is a fresh, funny action-comedy directed by Julie Anne Robinson and also starring Jason O'Mara, Daniel Sunjata, John Leguiziamo, Debbie Reynolds and Debra Monk. Lionsgate and Lakeshore Entertainment present a Lakeshore Entertainment Lionsgate Wendy Finerman Sidney Kimmel Entertainment production in association with Abishag Productions. Directed by Julie Anne Robinson. Screenplay by Stacy Sherman & Karen Ray and Liz Brixius. Based on the novel by Janet Evanovich.

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

The Conspirator is a film that is very sure of its genre placement, and takes great pride in it. Alongside such films as Spielberg's Amistad, and Scorsese's Gangs of New York, Robert Redford's The Conspirator is a film that finds a big name in the director's chair, putting out a movie that is ultimately rather boring, and falls flat on a variety of film-making fronts. Part of the genre's creed is that the negatives are meant to be overlooked, because the film is historical, to one degree or another.

On the other hand, from the perspective of simply a tale from history with a bit of entertainment value thrown in, The Conspirator is very likely a winner. That is, serious history buffs are likely to enjoy the ride (though the special features on the Blu-Ray release are worth even more), but if you're looking for a film, you may well be disappointed.

It's the story of Mary Surratt (Robin Wright), the only female charged as a co-conspirator in Lincoln's assassination, and her lawyer, Frederick Aiken (James McAvoy). Aiken is forced into the job of presenting her defense, and not only does he not want the job, he's on board with the world at large, and their idea that, basically, the fact that she was accused means she ought to hang. Naturally, he is won over as time goes on, not necessarily to believing that she is innocent, but to the idea that she isn't being given anything remotely like a fair trial.

As we make our way through the trial, a military affair by the way (this being the case that moved the Supreme Court to rule that citizens could not be tried by military courts), Aiken finds himself taking the public heat as much as anyone, even to the point that his fiancee (Alexis Bledel) decides she can't see him anymore.

Secretary of War Edwin Stanton (Kevin Kline) wants Surratt hanged, and he's going to make sure it happens, no matter what it takes. There is some indication that the powers that be are only venting their frustration at Mary, because her son is the one conspirator they had their sights set on who escaped, but before long it wouldn't matter if he turned himself in or not. Stanton wants her hanged for the spin, and now that he's whipped up that frenzy, there's no going back.

While the historic aspects of the film are intriguing, there is very little meat to the film. This is another in a long line of historical films that put forward the idea that at any given point in history, there were two, maybe three, people who were not complete bastards, and therefore there is no point or purpose to developing the supporting characters apart from having them twirl their mustaches and cackle.

It may be historically accurate that all these people were laughably monstrous insofar as their relevant actions here, and willing to thumb their nose at the rights of the nation's citizens under the guise of protecting the country (or whatever), but it isn't good filmcraft. There are some things such that, in making a film vs. a documentary, if they are true, you should lie.

Worse, in terms of whatever drama is meant to be conveyed in the thing, we watch the conspirators conspire. Most people involved may have been mightily convinced, despite the lack of much in the way evidence, but the audience is put in a very strange position when they are meant to immerse themselves in events, and have the questions played out as answers. Even if all the conspirators confessed, providing the exact details of all the events, that is still a far different thing than watching them do it.

The trial is supposed to be the thing here, the obvious railroading of a mother who, though she certainly knew there was some conspiracy afoot, may well not have had any idea how grand a conspiracy it was. It's about the government taking over the "court," monkeying with evidence, coercing witnesses, and ultimately getting the verdict they want merely by saying that they are going to. Whatever your particular views on such things, the power of watching such a travesty unfold is largely deflated when you watch it all happen.

Still, for all that this film would unquestionably be universally laughed at without its historic ties, it does offer up the story of a very interesting piece of America's puzzle. There is much that is unfortunate when it comes to The Conspirator, but what stands out is that there if some very fine acting to be found here. If only it were easier to digest the result. Whatever else, the events are worth knowing, even if the film is only moderately worth watching.

Rating: ★★☆☆☆ 

The special features are all but too numerous to mention, and overall are of infinitely more value than the film itself. I dare go so far as to say that the Blu-Ray release is worth the purchase even for those who didn't really enjoy the film at all. There is a video commentary with Robert Redford that is best described as being exactly as interesting as you find the film. Make of that what you will.

A feature-length documentary, The Conspirator: The Plot to Kill Lincoln, is worth the price of admission on its own. An exceptional piece of work, this is a well-crafted, well-constructed, and well-conceived effort to relay the events, and you will rarely find a better historical documentary covering what is ultimately a very narrow window of events.

There are also several featurettes (full list of bonuses below), most of which run a fair amount of time, and aim at specific sections covered in the film. Perhaps best is the one covering Frederick Aiken, a man who, as much as anyone else, was caught up in the grand design. The behind-the-scenes featurettes (Production design, costume design, etc.) are better than most such fare for those that are interested in such things.

Overall, this is a very tricky release. Many a film fan won't care one way or the other when it comes to such titles, and history fanatics probably won't care if there is truly very little film involved in this production. However, purely as a Blu-Ray release, this is a winner to be sure. The film looks wonderful and it is packed like few other efforts with special features.

BLU-RAY SPECIAL FEATURES

•  Video commentary with Director Robert Redford
•  “The Conspirator: The Plot to Kill Lincoln” – feature-length documentary
•  Introduction to the American Film Company
•  “Making of” featurette- Interviews with Cast and Crew
•  Introduction to the History Behind the Film featurette
•  Production Design featurette
•  Costume Design featurette
•  Props and Special Effects featurette
•  “The Conspiracy” featurette
•  “Mary Surratt’s Catholicism” featurette
•  Military Trial featurette
•  “Frederick Aiken: Defense Lawyer” featurette
•  “Mary Surratt: Guilty or Innocent” featurette
•  “Sentence and Execution” featurette
•  Photo galleries

Venture behind the true story of one of the world’s most famous assassinations as Lionsgate debuts The Conspirator on Blu-ray Disc, 2-Disc DVD, Digital Download and On Demand this August. Oscar®-winning director Robert Redford (Best Director, Ordinary People, 1980) gives viewers a front-row seat in the thrilling courtroom battle waged against Mary Surratt (Golden Globe® nominee Robin Wright*), the only female charged in the murder of President Abraham Lincoln.

The film costars Golden Globe® nominee James McAvoy as the attorney who reluctantly takes on Surratt’s defense, and who becomes her biggest ally as government forces align to bring her down. Featuring an all-star supporting cast including Kevin Kline (A Fish Called Wanda), Danny Huston (X-Men Origins: Wolverine), Evan Rachel Wood (HBO’s “True Blood”), Justin Long (Going the Distance) and two-time Oscar® nominee Tom Wilkinson, Lionsgate presents The Conspirator in a deluxe Blu-ray Disc and 2-Disc DVD that both contain in-depth special features, including a feature-length documentary about the plot to kill Lincoln, interviews with the cast and crew plus numerous featurettes that look at the making of the film and the true story it captures. The Blu-ray version of the film also includes a video commentary (instead of the audio commentary) with Robert Redford and image galleries.

In the wake of the assassination of President Lincoln in 1865, a country mourns its leader, and eight people are charged with conspiring to kill the President, Vice President and Secretary of State. The lone woman accused, Mary Surratt (Wright), owns the boarding house where the attack was planned. Faced with a certain death, Surratt’s only hope comes in the form of a newly minted lawyer and Union war hero, Frederick Aiken (McAvoy), who reluctantly agrees to defend Surratt before a military tribunal. As the courtroom trial unfolds, Aiken realizes his client may be innocent and that she is being used as bait in order to capture the only conspirator to have escaped a massive manhunt, her son (Johnny Simmons, Scott Pilgrim Vs. The World).

Win Yours Here!

Leave a comment below, and you are automatically entered to win your very own copy of the Blu-Ray release. Winner will be randomly selected on September 23rd. U.S. and Canada only.

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

There's a line from the Who's "Join Together" that goes, "It's the singer not the song, that makes the music move along". The first time I heard this lyric I could not get it out of my head, mainly because I disagreed with it so vehemently. For me and my puritanical view of music at the time, if you really loved music, you understood music was about melody, rhythm, dynamics, and the interaction between instruments.

The vocals were mostly a superfluous element used as a tool to appeal to mass audiences. It's much easier for a song to get stuck in someone's head if they have words to sing along to, and that's what I thought vocals were there for. Basically, a glorified marketing gimmick.

I could not understand then how musicians I respected as much as the Who could get it so wrong. At the time, I chalked it up to Pete Townshend's narcissism (which, if you have ever seen the man interviewed, is an easy conclusion to draw), but as time went on and my perception of music evolved, and I broadened my spectrum of music genres, I began to realize how wrong I was and how right the Who were.

It's the singer that gives a song it's personality, it's humanity, bridging the gap between the ethereal notes and the intellectual words. It's the singer who gives us a view into some truth that can not be simply stated. This is why you could give five different people the same song to sing and end up with five very unique songs.

As with music, I view comedy in a similar way. It's not always so much the joke itself that's funny, but the comedian who's delivering it. If we try my little thought experiment with a joke, giving the same joke to five different comedians, I think you'll agree the amount of laughs the joke gets can vary greatly depending on who is giving it to us.

Now don't get me wrong, intelligent, witty writing is an extremely important part of comedy, if a joke is bad enough not even some Frankenstein monster made from parts of Louis C.K., Ricky Gervais, Bill Murray, Charlie Chaplin, and the whole Monty Python gang would be able to make it funny, but with the right talent involved, you can elevate mediocre material into classic gut-busters.

A prime example of this is 30 Minutes or Less. The film tells two parallel buddy stories: that of the "good guys", Nick (Jessie Eisenberg), who earns a meager living as a pizza delivery boy, and his grade school teacher friend, Chet (Aziz Ansari), and that of the "bad guys", the would-be criminal masterminds Dwayne (Danny McBride) and Travis (Nick Swardson). Dwayne is the stay-at-home-son of an R. Lee Ermey-esque military veteran simply referred to as "The Major" (Fred Ward).

Dwayne has a large inheritance coming his way upon the Major's death (a man who made his wealth by winning the lottery), and when a stripper puts the idea of patricide into his head, the only thing keeping Dwayne from his inheritance (and his dreams of opening up a tanning salon/bordello) is the money he needs to hire a hitman to carry out the dastardly deed. Dwayne and Travis come to the conclusion that the best way to raise the cash would be to rob a bank, but not wanting to get their own hands dirty, they kidnap Nick as he delivers a pizza, strapping a bomb to his chest and giving him ten hours to rob a bank and give them the money. Nick recruits Travis to help him carry out the robbery and , as always, hilarious hijinks ensue.

It's a clever premise (with a controversial similarity to a real-life 2003 incident in Erie, Pennsylvania that was anything but funny) and I enjoyed the "two-sides of a coin" narrative structure, but most of the jokes are standard R-comedy affair. A lot of raunchy sexual references, guys ragging on each other, and most every other genre staple you can think is accounted for here. It's competently done and good for a few laughs, but with the exception of one or two standout set pieces (such as the bank robbery scene, which is probably the most amateur heist ever put on the silver screen), nothing breaks new ground here.

The direction from Ruben Fleischer is sleek and crisp, never veering too far off from the story at hand. Fleischer, who made something of a name for himself with his impressive feature-film debut Zombieland (another film starring Jessie Eisenberg), has thus far proved to be a confident director of comedy, allowing the audience to find humor through the narrative without having to resort to the metaphorical cow bell to let the audience know it's time to laugh. 30 Minutes or Less doesn't quite have as much personalty as Zombieland, but between the two films, Fleischer is a name I'll definitely be keeping an eye out for in the future.

As I was alluding to with the Who reference though, the thing that really makes the film work is the actors, in particular Danny McBride. Now in interest of full disclosure, I must admit I am a huge Danny McBride fan, so if for some inexplicable reason you find McBride's antics annoying or something less than hysterical, you may want to ignore this review completely. McBride has improved with every movie he's been in (even in small roles in films I didn't care for such as Observe and Report), and his show, Eastbound and Down, is one of the best shows currently on television.

What I love about McBride is his ability to play outlandish, over-the-top characters with a level of sincerity and humanity that prevents them from becoming the cartoonish caricatures that so many actors would tend to make them (I won't name any names, but it rhymes with Phil Carroll). No matter how ridiculous the line, McBride never delivers it like a bad knock-knock joke, but rather as an earnest (if not totally realistic) human being, and even though he plays the villain in 30 Minutes or Less, I have to confess to feeling at least a little bit of sympathy for his character all the way through.

It's not just McBride that deserves kudos though, as the rest of the cast contributes significantly to the laughs. Jessie Eisenberg, the quintessential every-man of this generation, continues to refine his reputation as one the best young actors today. While some of Eisenberg's detractors may accuse him of resting on his 21st Century anti-Cary Grant schtick, his understated sardonic delivery perfectly captures the blase of the times and his age bracket (exactly the approach called for when inhabiting the role of a pizza delivery boy). Nick Swardson, playing the dopey villainous sidekick, gives a surprisingly deft performance as well.

Going into the movie, I was worried Swardson might be overzealous in emphasizing the low IQ aspects of his character, but he adds an unexpected amount of depth to the role, matching McBride step for step in terms of subtle nuance (for an R-rated buddy comedy). Michael Pena, in a smaller role as a Mexican gangster, also proves to be a great asset for the film, delivering some of the film's best lines (including a hilarious throwaway line about his mom calling him a pimp).

As much as I hate to admit it, the one weak link in the ensemble is Aziz Ansari. Outside of Chris Pratt, Ansari's Tom Haverford is the best part of the superb NBC sitcom Parks and Recreation, and Ansari's stand-up routines are always enjoyable, so the man definitely has talent, but in 30 Minutes or Less, Ansari gets lost in the shuffle. This is partly to do with the nature of his character, the most straight and narrow of the four leads, but Ansari fails to inject much personality in the role, which stands out even more in comparison to the excellent performances surrounding him.

30 Minutes or Less, with a running time of 83 minutes (disappointing the super-literal), is a brisk entertaining comedy with a good set-up, occasionally above-par writing, and a great cast that bails it out the rest of the time. It may not be the most innovative comedy around, but if you're a fan of any one of the actors involved, you won't want to miss it.

Rating: ★★★★☆ 

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Few movies get the kind of marketing push we're seeing from The Hunger Games, especially this far out. Due out in March 2012, the film is already all that anyone seems to be talking about, and the release of a sneak peek hasn't changed things.

The next, most fantastic thing ever, The Hunger Games is hoping to capitalize on immense popularity, and fill the franchise void left by things now over, or seemingly old news.

By most accounts (I haven't read it) a far more serious effort than those that have recently taken the world by storm, it makes one wonder how the translation will come through, and how we fuse a complex, weighty offering with the near hysteria surrounding the revelation of every actor and actress.

On the other hand, I (and others) may be giving the book too much credit.

Either way, you can get a small taste below, and this is bound to be a small drop in the bucket of the general media blast sure to come your way. It isn't even enough to make a lot of comment on really, but let me know where you are in the general The Hunger Games Excitement arena.

For those utterly out of the loop-

In a dystopic setting, twelve subjugated districts are forced to pay tribute in the form of a teenage boy and girl. These tributes are forced to participate in the annual "Hunger Games," a fight-to-the-death, televised event. Katniss Everdeen's little sister is chosen in the lottery to become a tribute, but Katniss offers to take her place. We follow her adventure, as she must make hard choices to survive, win the games, and return home.

THE HUNGER GAMES is directed by Gary Ross and features an all-star cast including Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Donald Sutherland and Lenny Kravitz.

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

On October 14th, a film is coming your way that deconstructs dysfunction in a way few efforts have dared. Fireflies in the Garden is the story of a seemingly regular family with a less than normal background reality.

You might not guess it from the trailer actually, but the family is, to outward appearances, rather standard. Successful, but rather normal. As we dig deeper, it comes to light that our family is perhaps a bit less normal than we might expect, and the relationships are far more complex than anyone would have guessed.

With Ryan Reynolds, Julia Roberts, and Willem Dafoe as our main focus, the film has to weather a lot of expectation, and it looks as though it might have a decent chance at delivering.

Take a look below, and let me know what you think. It's clearly not the sort of thing that jumps to the top of everyone's list, but I'm intrigued to see what's going to come of it.

To an outsider, the Taylors are the very picture of the successful American family: Charles (Willem Dafoe) is a tenured professor on track to become university president, son Michael (Ryan Reynolds) is a prolific and well-known romance novelist, daughter Ryne (Shannon Lucio) is poised to enter a prestigious law school, and on the day we are introduced to them, matriarch Lisa (Julia Roberts) will graduate from college—decades after leaving to raise her children. But when a serious accident interrupts the celebration, the far more nuanced reality of this Midwestern family’s history and relationships come to light.

Starring: Ryan Reynolds, Julia Roberts, Willem Dafoe, Emily Watson, Carrie-Anne Moss, Ioan Gruffudd and Hayden Panettiere

Written by: Dennis Lee

Directed by: Dennis Lee

Become a fan on Facebook: http://www.facebook.com/firefliesmovie

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Coming your way October 28th, The Rum Diary is the next motion picture from the mind of Hunter S. Thompson, and the trailer looks awfully good. Based on the novel, this one finds us following Johnny Depp as Paul Kemp, as a New York journalist who goes to work for a newspaper in Puerto Rico.

Filled with an assortment of alcohol, hallucinations... maybe, and a wild ride of a humble journalist caught up in machinations way over his head, the movie looks incredibly fun, and like just the sort of thing Depp is perfect for. Take a look, and don't miss out on the social media pages.

The Rum Diary on Facebook: http://www.facebook.com/pages/The-Rum-Diary/218246874862570

FilmDistrict on Twitter: http://twitter.com/#!/FilmDistrict

Based on the debut novel by Hunter S. Thompson, “The Rum Diary” tells the increasingly unhinged story of itinerant journalist Paul Kemp (Johnny Depp). Tiring of the noise and madness of New York and the crushing conventions of late Eisenhower-era America, Kemp travels to the pristine island of Puerto Rico to write for a local newspaper, The San Juan Star, run by downtrodden editor Lotterman (Richard Jenkins).

Adopting the rum-soaked life of the island, Paul soon becomes obsessed with Chenault (Amber Heard), the wildly attractive Connecticut-born fiancée of Sanderson (Aaron Eckhart). Sanderson, a businessman involved in shady property development deals, is one of a growing number of American entrepreneurs who are determined to convert Puerto Rico into a capitalist paradise in service of the wealthy.

When Kemp is recruited by Sanderson to write favorably about his latest unsavory scheme, the journalist is presented with a choice: to use his words for the corrupt businessmen’s financial benefit, or use them to take the bastards down.

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

Shark Night 3D is about to hit, and I have a great prize pack available for you. I know you're excited already, and you've probably already got your tickets, but why not gear up for your September 2nd night out?

Check out some info below, and be sure to watch the trailer again - you know you want to - then make sure you enter to win.

A sexy summer weekend turns into a blood-soaked nightmare for a group of college students trapped on an island surrounded by voracious underwater predators in Shark Night 3D, a terrifying thrill ride from director David Ellis (The Final Destination, Snakes On a Plane), featuring a red-hot young cast including Sara Paxton (Superhero Movie, Last House on the Left), Dustin Milligan (90210, Slither), Chris Carmack (The O.C.), Joel David Moore (Avatar), Chris Zylka (The Amazing Spider-Man) and Katharine McPhee (The House Bunny).

Arriving by boat at her family’s Louisiana lake island cabin, Sara (Sara Paxton) and her friends quickly strip down to their swimsuits for a weekend of fun in the sun. But when star football player Malik (Sinqua Walls) stumbles from the salt-water lake with his arm torn off, the party mood quickly evaporates.

Assuming the injury was caused by a freak wake-boarding accident, the group realizes they have to get Malik to a hospital on the other side of the lake, and fast.

But as they set out in a tiny speedboat, the college friends discover the lake has been stocked with hundreds of massive, flesh-eating sharks! As they face one grisly death after another, Sara and the others struggle desperately to fend off the sharks, get help and stay alive long enough to reach the safety of dry land.

 

Enter to Win!

The prize pack includes -

• $25.00 iTunes Gift Card
• Shark Fin Ice Tray
• Shark Night 3D Keychain
• Shark Night 3D Pint Glass
• Shark Night 3D T-Shirt
• Shark Night 3D Water Gun

To enter - leave a comment below, and tell me why you're excited to get out on Shark Night.

That's it.

Winner will be randomly selected on September 7th.

U.S. only

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© 2011, Are You Screening?. All rights reserved. Reprinting without express permission of the author is prohibited.

I'm sure you've heard about Planes, the upcoming film that is a spin-off (or something) of the Cars franchise, and now Jon Cryer is officially attached to lend his voice to the film as Dusty, the single-prop star.

You've got a long wait in store, because this one is set to release on Blu-Ray and DVD in Spring 2013, but it's looking more and more fun all the time. I wonder how the none-too-strong critical response to Cars 2 will play into things here, but I have a good feeling about it.

Below check out the full release, and the trailer.

Dusty, the small-town crop-duster from DisneyToon Studios' upcoming feature “Planes,” has found his voice: Emmy Award®-winning actor Jon Cryer, lands the role of the daring dreamer who takes on the most notoriously grueling air race in history, and in the process gives a spellbound world the inspiration to soar. “Planes,” an all-new, CG-animated comedy action adventure, flies into homes on Blu-ray™ and DVD in Spring 2013.

“We are incredibly excited to have Jon Cryer on board as the voice of Dusty,” said John Lasseter, chief creative officer for Walt Disney and Pixar Animation Studios. “Jon brings so much comedy and believability to this character who dreams of soaring alongside his heroes in the 'Wings Around the Globe' Rally. 'Planes' is a wonderful story that takes audiences on a great ride and Jon brings so much heart to the film.”

Cryer has starred in the hit CBS series “Two and a Half Men” for seven years, winning an Emmy® in 2003 for Outstanding Supporting Actor in a Comedy Series. His credits also include films like “Due Date,” “Hot Shots” and “Pretty in Pink.”

Dusty lives in the small town of Propwash Junction, and the single-prop agriculture plane could not be further from the lean, mean, trophy-winning machines he idolizes – and his co-workers remind him constantly. His mentor Skipper is convinced that Dusty has the engine to compete with the best, and helps encourage him to pursue his lifelong dreams. But if Dusty wants to make his dreams a reality, he?ll need to push himself further than he ever imagined. With the help and support of a crew of all-new and hilarious characters, Dusty wings his way into the biggest challenge of his life.

“Planes,” set to introduce audiences to an entirely new and hilarious crew of daredevils from every corner of the globe, draws inspiration from the immensely popular world of Disney•Pixar's “Cars.” Created, written and produced by DisneyToon Studios under the creative leadership of John Lasseter and directed by Emmy® nominated Klay Hall, “Planes” takes off with an international cast of the fastest air racers around, in a comedy packed with action and adventure.

Fasten your seatbelt and secure your carry-on items, more information on “Planes” will be arriving shortly.

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