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Slideshow: 35-Image Gallery For ‘The Twilight Saga: New Moon’ Starring Robert Pattinson

BrianTT — Fri, 06 Nov 2009 14:10:16 -0700

CHICAGO – This 35-image slideshow contains all of the official press images for the highly anticipated “The Twilight Saga: New Moon,” starring Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Rachelle Lefevre, Billy Burke, Peter Facinelli, Nikki Reed, Kellan Lutz, Jackson Rathbone, Michael Sheen and Dakota Fanning. The film was adapted by Melissa Rosenberg from the book by Stephenie Meyer and directed by Chris Weitz. It will be released on November 20th, 2009.

Synopsis: “In The Twilight Saga: New Moon, Bella Swan (Kristen Stewart) is devastated by the abrupt departure of her vampire love, Edward Cullen (Robert Pattinson) but her spirit is rekindled by her growing friendship with the irresistible Jacob Black (Taylor Lautner). Suddenly she finds herself drawn into the world of the werewolves, ancestral enemies of the vampires, and finds her loyalties tested.”

You can click “Next” and “Previous” to scan through this slideshow or jump directly to individual photos with the captioned links below. All photos courtesy of Summit Pictures and stills are credited to Kimberley French. All Rights Reserved.

New_Moon_01: (Left to right) Robert Pattinson stars as Edward Cullen, Kristen Stewart stars as Bella Swan, and Taylor Lautner stars as Jacob Black in The Twilight Saga: New Moon.
New_Moon_02: Kristen Stewart and Robert Pattinson star in The Twilight Saga: New Moon.
New_Moon_03: Kristen Stewart and Robert Pattinson star in The Twilight Saga: New Moon.
New_Moon_04: Kristen Stewart stars as Bella Swan and Robert Pattinson stars as Edward Cullen in The Twilight Saga: New Moon.
New_Moon_05: Taylor Lautner and Kristen Stewart star in The Twilight Saga: New Moon.
New_Moon_06: Kristen Stewart stars as Bella Swan and Taylor Lautner stars as Jacob Black in The Twilight Saga: New Moon..
New_Moon_07: Kristen Stewart and Edi Gathegi star in The Twilight Saga: New Moon.
New_Moon_08: (Left to right) Ashley Greene stars as Alice Cullen and Kristen Stewart stars as Bella Swan in The Twilight Saga: New Moon.
New_Moon_09: (Left to right) Peter Facinelli and Kristen Stewart star in The Twilight Saga: New Moon
New_Moon_10: Kristen Stewart stars as Bella and Billy Burke stars as her father Charlie Swan in The Twilight Saga: New Moon.
New_Moon_11: (Left to right) Kellan Lutz stars as Emmett Cullen, Nikki Reed stars as Rosalie Hale, Jackson Rathbone stars as Jasper Hale, Elizabeth Reaser stars as Esme Cullen and Peter Facinelli stars as Dr. Carlisle Cullen.
New_Moon_12: (Left to right) Justin Chon stars as Eric, Michael Welch stars as Mike, Anna Kendrick stars as Jessica and Christian Serratos stars as Angela in The Twilight Saga: New Moon.
New_Moon_13: (Left to right) Alex Meraz stars as Paul, Kiowa Gordon stars as Embry Call, Chaske Spencer stars as Sam Uley, Taylor Lautner stars as Jacob Black and Bronson Petteltier stars as Jared in The Twilight Saga: New Moon.
New_Moon_14: (Left to right) Alex Meraz stars as Paul, Kiowa Gordon stars as Embry Call and Chaske Spencer stars as Sam Uley in The Twilight Saga: New Moon.
New_Moon_15: (Left to right) Jackson Rathbone stars as Jasper Hale, Ashley Greene stars as Alice Cullen, Kellan Lutz stars as Emmett Cullen, Robert Pattinson stars as Edward Cullen and Nikki Reed stars as Rosalie Hale in The Twilight Saga: New Moon.
New_Moon_16: Kristen Stewart stars as Bella Swan in The Twilight Saga: New Moon.
New_Moon_17: Taylor Lautner stars as Jacob Black in The Twilight Saga: New Moon.
New_Moon_18: Ashley Greene stars as Alice Cullen in The Twilight Saga: New Moon.
New_Moon_19: (Left to right) Kellan Lutz stars as Emmett Cullen and Nikki Reed stars as Rosalie Hale in The Twilight Saga: New Moon.
New_Moon_20: Dakota Fanning stars as Jane in The Twilight Saga: New Moon.
New_Moon_21: Michael Sheen stars as Aro in The Twilight Saga: New Moon.
New_Moon_22: (Left to right) Michael Sheen as Aro, Jamie Campbell Bower as Caius, and Cameron Bright as Alec star in The Twilight Saga: New Moon.
New_Moon_23: (Left to right) Charlie Bewley as Demetri and Daniel Cudmore as Felix in The Twilight Saga: New Moon.
New_Moon_24: (Left to right) Kristen Stewart, Director Chris Weitz, 1st AD Mike Topoozian and Make-up artist Robin Matthews on the set of The Twilight Saga: New Moon.
New_Moon_25: Chris Weitz directs The Twilight Saga: New Moon.
New_Moon_26: The Twilight Saga: New Moon. Credit: James White.
New_Moon_27: The Twilight Saga: New Moon. Credit: James White.
New_Moon_28: The Twilight Saga: New Moon. Credit: James White.
New_Moon_29: Taylor Lautner stars in The Twilight Saga: New Moon.
New_Moon_30: (Left to right) Director Chris Weitz and actors Ashley Greene, Kristen Stewart and Taylor Lautner on the set of The Twilight Saga: New Moon.
New_Moon_31: The Twilight Saga: New Moon. Credit: James White.
New_Moon_32: The Twilight Saga: New Moon. Credit: James White.
New_Moon_33: The Twilight Saga: New Moon. Credit: James White.
New_Moon_34: The Twilight Saga: New Moon. Credit: Kimberley French.
New_Moon_35: Alex Meraz as Paul, Chaske Spencer as Sam Uley, Bronson Pelletier as Jared and Kiowa Gordon as Embry Call are the Quileute Wolf Pack in Summit Entertainment’s The Twilight Saga: New Moon. Credit: James White

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Gabourey Sidibe Shines in Inspirational True Story of ‘Precious’

BrianTT — Fri, 06 Nov 2009 13:21:21 -0700

CHICAGO – The final scene of Lee Daniels’ “Precious: Based on the Novel ‘Push’ by Sapphire” ends with a dedication that the film is for “precious girls everywhere”.

The words seem likely to resonate with the legions of fans of this tragic true story - women and men who can identify with rising above abuse, poverty, addiction, or whatever seemingly insurmountable odds speak most personally to them.

Rating: 4.0/5.0

Daniels has made a bleak, brutal, depressing urban drama that will surely be the “feel-bad, feel-good” movie of the year, a well-made film that is so dark that it can be hard to watch but that is designed to illustrate the fact that the human power to overcome adversity is stronger than the instinct to shrivel and die.

Read Brian Tallerico’s full review of “Precious: Based on the Novel ‘Push’ by Sapphire” in our reviews section.

Claireece “Precious” Jones (Gabourey Sidibe) is a stolid, overweight, somber, friendless teenager who has lived through an absolute nightmare since the day she was born. She is regularly abused by her mother (Mo’Nique) and is recently pregnant with her second child, both offspring the product of continuous rape by her own father since she was only an infant.

After her second pregnancy is discovered, Precious is shuttled off to an alternate education program for young women who have shown academic potential and she starts to discover that there are people in the world willing to help her. The most important are a teacher named Ms. Rain (Paula Patton) and a welfare worker played by Mariah Carey, but she also makes friends in her class and even opens up to a cute nurse played by Lenny Kravitz. The walls between the fantasy world that Precious has constructed to escape the pain of her everyday life start to come down as she is lifted by others towards a chance at a normal life.

Continuing reading for Brian Tallerico’s full “Precious: Based on the Novel ‘Push’ by Sapphire” review.

‘Precious: Based on the Novel ‘Push’ by Sapphire’ stars Gabourey Sidibe, Mo’Nique, Mariah Carey, Paula Patton, and Lenny Kravitz. It was written by Damien Paul and directed by Lee Daniels. It opens in Chicago on November 6th, 2009. It is rated R.

Precious (Gabourey Sidibe, left) and Ms. Rain (Paula Patton, right) in Precious: Based On The Novel ‘Push’ By Sapphire.
Photo credit: Anne Marie Fox/Lionsgate

Art World Bares its Soul in Adam Goldberg’s Superlative ‘(Untitled)’

PatrickMcD — Fri, 06 Nov 2009 09:57:21 -0700

CHICAGO – One of the best and most exciting surprises of the 2009 film year is a smaller, claustrophobic film starring Adam Goldberg and set in the art gallery world of New York City. “(Untitled)” is an honest, uncompromising character study.

Rating: 5.0/5.0

Taking its name from the practice of inscribing artwork with no label at all, (Untitled) involves three people, two who are practicing artists and one who owns a small Soho art gallery. Adrian (Adam Goldberg) is a composer of atonal symphonies – think using buckets and chains for sounds instead of harmonics – and although recognized as a significant craftsman he still needs to supplement his living by providing piano atmosphere in a haughty bistro.

His brother Josh (Eion Bailey) is a “successful” artist, having found a niche market selling his works to decorate hotel lobbies and corporate hallways. He is the biggest income generator for Madeleine (a revelatory Marley Shelton), who owns a small but cutting edge gallery. Embarrassed that she has to rely on Josh’s commercial work to stay afloat, she coyly hides his work in the back when clients come to call.

When Madeleine sees Adrian perform one of his symphonies, she not only gets a commission for him but takes him on as a lover. When the three attitudes of the principal characters collide – Adrian’s outsider inclination, Josh’s desperate need for artistic credibility and Madeleine’s blind worship of the next edgy art happening – the very question of who decides what art can be is philosophically rendered.

”(Untitled)” opens in Chicago November 6th, in limited release elsewhere. Check local listings for theaters. Featuring Adam Goldberg, Marley Shelton, Eion Bailey and Vinnie Jones, directed by Jonathan Parker. Rated “R” Click here for the HollywoodChicago interview with Adam Goldberg of Untitled.

Continue reading for Patrick McDonald’s full review of “(Untitled)”

Adam Goldberg as Adrian in ‘(Untitled)’
Photo credit: Parker Film Company/Samuel Goldwyn Films

Continue reading for Patrick McDonald’s full review of “ (Untitled)”

Video Game Review: Prepare to Be Addicted to ‘DJ Hero’

BrianTT — Thu, 05 Nov 2009 14:27:50 -0700

CHICAGO – Activision has been accused of milking the music game genre to the point of absolute exhaustion and with “Guitar Hero: Van Halen,” “Band Hero,” and “Guitar Hero 5” crowding store shelves this holiday season, it’s difficult to disagree. And yet “DJ Hero” somehow finds a way to rejuvenate a genre on the ropes, bringing a new approach to the music game that is remarkably addictive. Put away the drums and the mic (but leave the guitar out) and jump into the world of “DJ Hero”.

Video Game Rating: 4.0/5.0

“DJ Hero” comes with a platter designed to replicate the genuine feel of a crossfader, effect dial controls, and actual turntable. The “record” section of the table includes three buttons - green, red, blue - that should be familiar to anyone who has played a music game before. Hit the button at the right time and make some club-thumping music.

DJ Hero
Photo credit: Activision

On the beginner and easy levels of the game, hitting the right color at the right time is about all you’ll need to do to be the next Grandmaster Flash, but “DJ Hero” features a lot more tricks the higher up the difficulty ladder the player climbs. Scratching, cross-fading, and samples (which you can choose pre-mix) play crucial roles in whether you’ll deliver a 5-star jam or a 2-star snooze on Medium and above. On several tracks, a friend can even pick up the guitar and play along with your jam.

DJ Hero
Photo credit: Activision

Graphics are a small part of the success of a title like “DJ Hero” (no problem here with the cartoonish style of the Activision music titles actually fitting the garish world of DJ-ing more than, say, Kurt Cobain in “Guitar Hero 5”) but it really comes down to controls and song selection. The former is wonderfully, creatively designed and the latter is a great blend of hip hop, pop, rock, and dance.

As for tunes, “DJ Hero” includes over 100 individual songs featuring as diverse artists as Queen, Daft Punk, Black Eyed Peas, Dilated Peoples, Jurassic 5, N.E.R.D., Beck, Marvin Gaye, Gorillaz, Eminem, Jay-Z, and Blondie. Each mix features two songs and many are repeated, resulting in 93 unique never-before-release mixes, some by legends in the business like Grandmaster Flash, DJ Jazzy Jeff, DJ AM, and more. These are not everyday mash-ups. They are expertly produced dance mixes from the best at what they do. Of course, as fans of his know, what DJ Shadow brings steals the show.

The structure of the game is familiar to music titles with increasingly difficult set lists that need to be passed to unlock more tunes, outfits, playable characters, etc. The game is surprisingly deep and should take longer to complete than most traditional music outings. When you’re done, a pretty standard online mode and, if Activision’s past is any indication, a steady flow of downloadable tunes should keep “DJ Hero” fresh.

DJ Hero
Photo credit: Activision

As for what doesn’t work about this trip to the animated club, the list of complaints is incredibly short. First, the gap between difficulty levels feels larger than it should be. Anyone who’s ever played a music game (and hasn’t everyone by now?) will find the Easy level a bit too much so (I never even experimented with “Beginner”) but Medium has a learning curve that could throw players, leaving them frustrated in between. A similarly gigantic leap happens between Medium and Hard and I think there could be some fine-tuning in the complexity of the game to make it more enjoyable for players with different skill levels.

The game also feels a bit incomplete, as the online matches aren’t ranked and even all the unlockable outfits in the world can’t disguise a lack of build throughout the “story” portion of the game. You’re really just playing song after song and a bit of variety in the actual modes of the title would enhance the inevitable “DJ Hero 2”.

When I heard about “DJ Hero,” I assumed it would be a pleasant diversion, a nice companion to the “Guitar Hero” franchise. This is no “companion”. “DJ Hero” is a unique, clever, interesting game that stands completely on its own, probably even supplanting the band-driven titles for a lot of fans of the music video game genre.

After the disappointing “Guitar Hero: World Tour” and “Guitar Hero: Aerosmith,” I was one of the critics who thought the most exciting new gaming genre of the ’00s was on its way out the door. With “The Beatles: Rock Band” and “DJ Hero” proving that there are new ways to approach this genre, it feels like we’re in the middle of “music games 2.0” with more expertly crafted, detailed, satisfying music-based experiences. Except for a few tweaks to the difficulty and a bit more variety to the game modes, “DJ Hero” feels, appropriately, like a brand new mix of an old tune. And one that you’ll have difficulty getting out of your head.

‘DJ Hero’ was released by Activision and developed by FreeStyleGames. It is rated T (Teen). The version reviewed was for the PS3, but the title is also available for the XBox 360, Wii, and PS2. It was released on October 27th, 2009.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Blu-Ray Round Up, Nov. 5, 2009: ‘Battlestar Galactica: The Plan,’ ‘Love Actually’

BrianTT — Thu, 05 Nov 2009 12:07:28 -0700

CHICAGO – The Blu-Ray Round Up is back with two HD music releases, a beloved holiday movie from a director with a new comedy on the horizon (Richard Curtis, “Pirate Radio”), and a release that’s a must-own for fans of one of the most popular shows of the ’00s. This informative column is designed to let you know synopsis, technical specs, and features for titles that may have slipped under your radar. Pick your favorite.

“Nickelback: Live at Sturgis 2009” and “Rob Thomas: Something To Be Tour Live At Red Rocks” were released on October 13th, 2009.

“Battlestar Galactica: The Plan” was released on October 27th, 2009.

“Love Actually” was released on November 3rd, 2009.

“Battlestar Galactica: The Plan”

Photo credit: Universal

Synopsis: “The Cylons began as humanity’s robot servants. They rebelled and evolved and now they look like us. Their plan is simple: destroy the race that enslaved them. But when their devastating attack leaves human survivors, the Cylons have to improvise. Battlestar Galactica: The Plan tells the story of two powerful Cylon leaders, working separately, and their determination to finish the task.”

“Battlestar Galactica: The Plan” stars Edward James Olmos, Dead Stockwell, Michael Trucco, Grace Park, Aaron Douglas, Michael Hogan, Callum Keith Rennie, Rick Worthy, Lymari Nadal, and Tricia Helfer. It was written by Jane Espenson and directed by Edward James Olmos. The film runs 112 minutes and is not rated. It is presented in its original 1.78:1 aspect ratio and accompanied by aan English DTS-HD Master Audio 5.1 track.

Special features include “From Admiral to Director: Edward James Olmos and The Plan,” “The Cylons of The Plan,” “The Cylon Attack,” “Visual Effects: The Magic Behind The Plan,” Deleted Scenes, and Commentary with Director/Actor Edward James Olmos and Executive Producer/Writer Jane Espenson.

“Love Actually”

Photo credit: Universal Home Video

Synopsis: “”Get Ready for Fun!” (Leah Rozen, People) with the “feel good movie of the year!” (Clay Smith, Access Hollywood) Love Actually is the ultimate romantic comedy from the makers of Bridget Jones’s Diary and Notting Hill. Funny, irresistible and heartwarming, an all-star cast (Hugh Grant, Liam Neeson, Colin Firth and Emma Thompson, to name a few!) will take you on a breathtaking tour of love’s delightful twists and turns. Fall under the spell of Love Actually and share the laughs and charm again and again.”

“Love Actually” stars Alan Rickman, Bill Nighy, Colin Firth, Emma Thompson, Hugh Grant, Laura Linney, Liam Neeson, Martine McCutcheon, and Rowan Atkinson. It was written and directed by Richard Curtis. The film runs 135 minutes and is rated R. It is presented in its original 2.35:1 aspect ratio and accompanied by an English DTS-HD Master Audio 5.1 track.

Special features include Deleted Scenes, “The Music of Love Actually,” Kelly Clarkson “The Trouble With Love Is” Music Video, Billy Mack “Christmas is All Around” Music Video, “The Storytellers,” and Feature Commentary with Director Richard Curtis and Actors Hugh Grant, Bill Nighy, and Thomas Sangster.

“Nickelback: Live at Sturgis 2009”

Photo credit: E1 Entertainment

Synopsis: “Bikes! Babes! Bands! Join Nickelback as they take the stage in front of 35,000 screaming fans at the world-famous Sturgis “Rockin’ The Rally” show. Shot in glorious high definition, Nickelback Live At Sturgis 2006 is the definitive Nickelback live Blu-ray. Featuring 12 of the hard-rockin’ band’s fan favorites and a behind the scenes glimpse of life on the road for one of the biggest rock bands in the world, Nickelback Live At Sturgis captures the band firing on all cylinders and blowing the sold-out crowd away! Tracks include: Animals, Woke Up This Morning, Photograph, Because of You, Far Away, Curb Medley, Never Again, Savin’ Me, Someday, Side of a Bullet, Drum Solo, How You Remind Me Too Bad, Figured You Out.”

“Nickelback: Live at Sturgis 2009” was directed by Daniel E. Catullo III. The film runs 65 minutes and is not rated. It is presented in a 1.78:1 aspect ratio and accompanied by an English Dolby Digital 5.1 audio track.

Special features include “Behind-the-Scenes with Nickelback,” Photo Gallery, “Sturgis 101 Vignette,” and “Rockstar” Video.

“Rob Thomas: Something To Be Tour Live at Red Rocks”

Photo credit: E1 Entertainment

Synopsis: “The Red Rocks Amphitheatre in Colorado a legendary venue that has been graced by rock luminaries from The Beatles to U2 provides the awe-inspiring backdrop for Rob Thomas in one of the most memorable stops on his Something To Be Tour. Featuring the multi-platinum recording artist performing 18 hits from both Matchbox Twenty and his solo career, this incredible set also includes a special acoustic arrangement of “Smooth” and a cover of the David Bowie classic “Let¹s Dance.” Tracks include: Something To Be, Fallin’ To Pieces, If You’re Gone, When The Heartache Ends, Ever The Same, Not Just A Woman, 3 AM, You Won’t Be Mine, The Difference, Bent, Problems Girl, Let’s Dance, Lonely No More, I Am An Illusion, Now Comes The Night, Smooth, You Know Me, This Is How A Heart Breaks.”

“Rob Thomas: Something To Be Tour Live at Red Rocks” was directed by Joe Thomas. The film runs 95 minutes and is not rated. It is presented in a 1.78:1 aspect ratio and accompanied by an English DTS-HD 5.1 Master Audio track.

Special features include a bonus “Streetcorner Symphony” video.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Blu-Ray Review: Denzel Washington, Tony Scott Take ‘Pelham 123’ Seriously

BrianTT — Thu, 05 Nov 2009 10:07:28 -0700

CHICAGO – When a New York subway dispatcher finds himself locked in a tense battle of the wits with a deranged criminal onboard Pelham 123, he’s offered this bit of advice from a seasoned hostage negotiator: don’t enter his world. The same warning could be issued to viewers intent on entering the world of Tony Scott. It is a cinematic landscape that is alternately marred and enhanced by ADD.

Blu-Ray Rating: 3.0/5.0

With his ever-changing frame rate and rapid editing, Scott speeds through his story until he lands on a part that sparks his interest; often a moment of physical or emotional violence. This plays out in extreme slo-mo, halting the movement and blurring the action to such an extent that the audience feels like they have been punched in the head.

The Taking of Pelham 123 was released on Blu-Ray and DVD on November 3rd, 2009.
Photo credit: Sony Pictures Home Video

From “True Romance” to “Man on Fire,” violence has always been justified by Scott’s characters, often as a result of vengeance. Any viewers leaving the theater without a somewhat rancid taste in their mouths are most likely leaving instead with a compromised conscience. In Scott’s nifty remake of “The Taking of Pelham 1 2 3,” a gun-toting killer (John Travolta) repeatedly justifies his acts of vengeance, claiming it is not him, but the city’s deep-seated corruption that has killed his victims. If this were a normal Scott picture, he would be the protagonist. But here, the killer meets his match in the form of an “average Joe” (Denzel Washington) just going about his duty, who wouldn’t dream of resorting to violence unless it was a necessity.

The Taking of Pelham 123 was released on Blu-Ray and DVD on November 3rd, 2009.
Photo credit: Sony Pictures Home Video

Of course, we all know Washington is no “average Joe.” As one of the most commanding actors of his generation, it takes a considerable leap of faith for moviegoers to buy him as a soft-spoken, blue collar everyman. But Washington, concealed behind thick glasses and a mustache borrowed from Samuel L. Jackson in “Changing Lanes,” is more than up to the challenge. His perfectly modulated performance consistently anchors the film in tangible reality, just as Scott’s hyper-active style threatens to send the film flying off the rails. “Pelham” marks their fourth collaboration, and proves once again that the actor and director complement each others’ work nicely.

Travolta, on the other hand, seems lost at sea. His villainous comfort zone is often confined to quietly brooding (as in “Pulp Fiction”), and he looks ill-at-ease while screaming ultimatums at Washington. His entire character lacks the chilling edge and mystery of Robert Shaw in Joseph Sargent’s original 1974 picture, which still stands as a pleasing minor classic. The film’s color-coded villains each exuded distinctive personalities, but in the remake, Scott focuses entirely on the two leads, while taking full advantage of the technological progress that has occurred since the previous film (which alters the plot considerably). James Gandolfini breathes vibrant life into the thankless role of New York City’s boneheaded mayor, while John Turturro (as the negotiator) exists primarily to give Washington a “thumbs up.”

Since much of the film takes place in two stagnant locations, a transit office and a stalled subway car, Scott is forced to devote his antsy attention to the psychological warfare between Washington and Travolta. The resulting film is no masterpiece, nor a sizable improvement over the original, but it is surely one of the most purely entertaining films of Scott’s career.

“The Taking of Pelham 1 2 3” is presented in 1080p High Definition (with a 2.40:1 aspect ratio), and is accompanied by English, French and Spanish audio tracks, as well as a Digital Copy. Apart from the usual BD Live features offered by Sony (cinechat, movieIQ), there are some special features that actually manage to deepen one’s appreciation of the film. In two commentaries and a making-of documentary, the filmmakers explain why they felt the story was ripe for retelling, and how they went about updating the plot for modern times. Say what you will about Scott, but he’s certainly no slacker when it comes to research.

‘The Taking of Pelham 1 2 3’ is released by Sony Pictures Home Entertainment and stars Denzel Washington, John Travolta and James Gandolfini. It was written by Brian Helgeland and directed by Tony Scott. It was released on November 3rd, 2009. It is rated R.

By MATT FAGERHOLM
Staff Writer
HollywoodChicago.com

Blu-Ray Review: Underrated ‘Orphan’ Deserved Better Blu-Ray

BrianTT — Thu, 05 Nov 2009 09:25:17 -0700

CHICAGO – “Orphan” is a surprisingly effective thriller that delivers exactly what audiences should expect from it. This is B-movie filmmaking elevated by A-list actors Vera Farmiga and Peter Sarsgaard in a clever mix of honest emotion and ridiculous, over-the-top, “Mommie Dearest”-esque insanity. The film deserved a better Blu-Ray release.

Blu-Ray Rating: 3.0/5.0

In theaters, some questioned whether or not the more ridiculous moments in “Orphan” were meant to be played for laughs or horror. I honestly don’t care. Movies are enjoyable for what they are, not what they mean to be. And I enjoyed “Orphan”. It runs way too long and features lot twists that stretch credulity but it is as genuinely intriguing and entertaining as any of the adult thrillers released this past summer.

Orphan was released on DVD, Blu-Ray, On Demand and Digital Download on October 27th, 2009.
Photo credit: Warner Brothers Home Video

The great Farmiga (who will next be seen giving the performance of her career in “Up in the Air” and who you may recognize from “The Departed” or “Nothing But the Truth”) and the consistent Sarsgaard (nomination-worthy for his work in “An Education,” currently in theaters) play Kate and John Coleman, a composer and an architect who we meet after a series of tragedies.

The Colemans have recently suffered the unbearable pain of a stillborn child that they named Jessica, Kate is dealing with alcoholism that nearly caused more tragedy in her life, and past infidelity on John’s part is implied. They have one precocious child named Daniel and a sweet girl named Maxine who happens to be deaf. With all of these issues already in their life, perhaps this isn’t the best time to adopt a foreign pre-teen? Stop asking questions. They won’t get you anywhere in “Orphan”.

Orphan was released on DVD, Blu-Ray, On Demand and Digital Download on October 27th, 2009.
Photo credit: Warner Brothers Home Video

Meet Esther (Isabelle Fuhrman). As the tag line on the front of the Blu-Ray release says “There’s something wrong with Esther.” You can say that again. Esther is purportedly a Russian child whose family died in a random fire. (Hint – If a possible new member of your family has a mysterious past that includes death and potential arson, do some research before you sign the papers.)

When she first joins the family, Esther is a well-spoken, interesting, and unique child, but John and Kate like to encourage individuality. She wears dresses to school and ribbons around her neck and wrists. The fact that she NEVER takes the ribbons off and screams if you come near them might be a red flag to most normal people. Not the Colemans.

Life with Esther gets weird when the new arrival crosses paths with a girl that she doesn’t like on the playground. She pushes her backwards off the slide and the girl breaks her ankle. When the nun (CCH Pounder) who handled the adoption comes to check on Esther, the girl panics and thinks that the playground incident is going to force her to be taken away. That’s not going to happen.

From here, “Orphan” becomes an escalating series of true lunacy. When a nine-year-old Russian girl turns to her younger deaf sister and signs for her to help dispose of a body, the over-the-top ridiculousness of it all might appeal to B-movie fans more than they would like to admit.

Farmiga and Sarsgaard wonderfully ground their characters in reality and everything else is allowed to go off the rails. The script is flawed and the film never should have run over 120 minutes, but I have a soft spot for this ugly duckling horror movie, one of the weirdest major studio movies in years and one of the more oddly enjoyable genre films of 2009.

The Blu-Ray release of “Orphan” boasts Warner Brothers’ typically-fantastic 1080p picture and a fantastic Dolby TrueHD 5.1 track but the special features are shockingly thin with no commentary track and a hyped “Alternate Ending” that makes no sense with no commentary track to explain how it would have been inserted in the film. A few deleted scenes and a so-so featurette called “Mama’s Little Devils: Bad Seeds and Evil Children” round out a lackluster release for a cult hit in the making.

‘Orphan’ is released by Warner Brothers Home Video and stars Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, Jimmy Bennett, and CCH Pounder. It was written by David Leslie Johnson and directed by Jaume Collet-Serra. The film was released on DVD, Blu-Ray, On Demand and Digital Download on October 27th, 2009. It is rated R.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Interview: Director Lee Daniels, Star Gabourey Sidibe on ‘Precious’

PatrickMcD — Thu, 05 Nov 2009 07:15:47 -0700

CHICAGO – One of the most talked about films this year is the Tyler Perry and Oprah Winfrey backed “Precious: Based on the Novel Push by Sapphire.” Essential to the film is Gabourey Sidibe, who plays the title character of Precious.

Precious is the story of an overweight African American teenager in 1987 Harlem, who is about to have her second child. Rejected by almost every element of social order, including her immediate family, Precious is a story of survival in a world where certain people remain invisible.

Gabourey Sidbide as Precious and Paula Patton as Ms. Rain in ‘Precious’
Photo credit: © Lionsgate

During the Chicago International Film Festival in October, HollywoodChicago got to interview Gabourey Sidibe, along with her director Lee Daniels. Both participants in this one-of-a-kind production brought their perspective on the journey of both Precious and themselves.

HollywoodChicago.com: Lee, this is by far one of the hottest and most talked about films of the year. Can you describe the path of the main players that got involved in this film and why it resonated with them so much as to get this film in the mainstream?

Lee Daniels: It was really an angel. Ally Sheedy’s mother gave me the book to read. It blew me away, it rocked my soul, it stuck to me like hot grits. But the author at first wouldn’t give me the rights to the book. I kept stalking her, and she finally gave me the book.

Most of the talent I gave the Geoffrey Fletcher adapted screenplay to already knew the story from the novel. And even if they didn’t, they read the script and it stuck to them in the same way. It all starts with the word. And the word was so powerful that it trickled down to everyone involved in the production.

HC: Gabby, I saw that you had read the novel that the film is based on years before. What was the first thing you felt about Precious in relationship to yourself when you read the script?

Gabourey Sidibe: I felt like I knew her, certainly. I felt like I was related to her, she was a family member, a friend. But Precious is a person I didn’t really want to be a friend with, she had a little too much drama. But I did feel guilty because the point of Precious is that she did feel neglected and ignored. And I’ve been part of the people who have neglected and ignored her. That guilt opened my heart, and I felt so much more compassion for her.

HC: Lee, there were actors in your film playing against their glamorous types to find the truth within the story. Were there any difficulties with these actors – Mo’Nique, Mariah C. and Sherri Shepard in particular – finding these characters because they are so outside their usual lives?

LD: No. Because under it all they are all actors. And they are also very good friends. When you have actors that believe in you, that have really given their spirit to play with, and they trust you, and you trust them, it shows on screen.

They gave me their respect and trust. When actors give you their spirit you owe it back to them.

HC: Gabby, how did you and Mo’Nique – playing Precious’ mother Mary – communicate in your electric scenes together? What connection do you think Precious and Mary have, beyond their very difficult circumstances?

GS: Precious and Mary are enemies in a lot of ways. What people don’t see is that Precious loves her Mother, she is the only Mother that she has ever known. She wants a better life now only for herself, but also for her Mother. While she doesn’t understand all the abuse that Mary has handed to her, she still loves her.

In their apartment, though, they are enemies. Because Precious has never heard a kind word from Mary, she is always getting the worst part of her mother. And that defines the relationship between them on screen.

But Mo’Nique and Gabby have a completely different relationship, because we had to. The scenes between Precious and Mary are so intense, angry and emotional that Mo’Nique and I had to love each other double in order to survive the day. In the film she would throw a frying pan at me, Lee would yell ‘cut,’ and then we would hug. And dance. And sing.

Mo’Nique as Mary in ‘Precious’
Photo credit: © Lionsgate

HC: How important is it to tell stories like this to society in general? What revelations do you think will be communicated in regard to this level of poverty, especially of the spirit, in this subsection of the African American community?

LD: It’s not just the African American community. It is a social economic issue that effects all of the underprivileged. Precious is a universal story, it is through me, an African American filmmaker, that the story is told. But when it was a play on the West End of London, the entire cast was white.

We are all Precious, but it just so happened to be that I stuck to the book’s story. It is important to hit home that the ‘Preciouses” of society are not forgotten. It is important to note that today, unlike the 1987 that the story is told in, that people don’t fall through the cracks like they used to. It is a different world, but there are those that still get away with abuse.

The film is about abuse, but it also is about the will to survive. Also literacy, the power of the word and looking at yourself in the mirror and loving yourself, this is how deep Precious goes.

HC: Gabby, there is so much survival instinct that have to be learned at a young age in Precious’ circumstance. What survival instincts do you have in common with Precious?

GS: I have a lot, I was born in Brooklyn and raised in Harlem in New York. We probably have a lot of the same survival instincts. When Precious first meets Ms. Rain [Paula Patton] she doesn’t trust her at first. She doesn’t believe in trusting people, and that is a very New York instinct. That is something I know – never trust a stranger. I relate that completely back to Precious.

HC: You were involved with Monster’s Ball and now Precious. Both dealt with African American women. Since historically in the race, matriarchs are very high status and responsibility in family structure, how do the stories of Leticia and Precious provide understanding to this very important gender?

LD: I don’t agree that African American women have any different status than any other women. When we were at Sundance, a 70-year old Japanese lady started bawling in my hands, crying. I would have agreed with you about African American women in particular before I did this film, but we have been around the world and the story is about women in general, and their mechanism to survive.

When I started out making this, I thought it was about black women and in the end it changed my view about all women.

HC: Gabby, the facial expressions that you decided on for Precious, the blank mask that defined her, was that a natural expression for you or did you have to find it for the character?

GS: (laughs) We called it the ‘One Face.’ The funny thing is that when I’m bored or in a daydream, it’s a family trait. We purse our lips out like that [demonstrates]. When you’re on a film set, waiting, and Lee saw me through the lens naturally going to that face, he said ‘that’s it, that face!’ And I said what? And he said make that face again. I didn’t want to because it was ugly (laughs). Lee said, ‘it’s not ugly, do it!’ When the rest of my family sees this film, they are going to fall out because it’s a family trait to do that expression.

LD: The expression is honest. Oftentimes I’d let the camera roll after I said cut and then I would try to find the truth in what the girls were doing. When they were just being and then capture it. Then I’d say do that, right now. Because that is the truth, and that’s what I wanted to capture.

Director Lee Daniels, Gabourey Sidibe and Patrick McDonald in Chicago, October 14, 2009.
Photo credit: Patrick McDonald for HollywoodChicago.com

HC: Lee, what advantages do Tyler Perry and Oprah Winfrey give to the representation of African American and general American spirit? Is it some ways equal to Barack Obama on another level?

LD: Yes. I would be embarrassed to bring my Mother, for example, to meet Tyler Perry ever, because she would probably jump him, she loves him so much (laughs). She lives for him. He has that effect on black Americans. We idolize him for what he has done, what he has built, with his entertainment empire.

And the same thing with Oprah. Outside of being really sexy, she is just a Goddess, a Goddess that walks on air.

HC: Last Question for Gabby. What do you want Precious to represent for other “Precious” type girls in the poverty and hopelessness areas of cities and towns in this country?

GS: Certainly hope. The thing about Precious is that life keeps throwing things at her and hitting her in the face. But she never lies down. Even the one time it looked like she was going to, Ms. Rain tells her to continue, and she does.

She is a warrior, and her only weapon is hope. Hope for the future, hope for a better life. And she keeps moving toward it. And that is what I want people to take away. You can never count yourself out. Never.

”Precious: Based on the Novel Push by Sapphire” has a limited release on November 6th. Check local listings for theaters. Featuring Gabourey Sibide, Mo’Nique, Paula Patton, Mariah Carey, Sherri Shepherd and Lenny Kravitz, directed by Lee Daniels. Rated “R”

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

Interview: Adam Goldberg on the Art of Performance in ‘(Untitled)’

PatrickMcD — Wed, 04 Nov 2009 16:30:39 -0700

CHICAGO – The Adam Goldberg character is well known to fans of TV’s “Friends” and the movie’s “Saving Private Ryan.” With his heart-on-his-sleeve persona, he takes that character to rarified heights in the new film “(Untitled).”

Set in the galleries and small symphony halls of New York City, (Untitled) is a deeply philosophical look at the nature of art, through three characters who each believe they understand the essence of what art is within themselves.

Adam Goldberg plays Adrian, a composer of atonal symphonies, whose work continues to go unrecognized. His brother Josh (Eion Bailey), is a successful painter of hotel decor-style art, who longs to be recognized for more. Rounding out the triad is Madelaine (Marley Shelton), the arty and pretentious gallery owner who strives for the next atmospheric happening.

Adam Goldberg as Adrian and Marley Shelton as Madeleine in ‘(Untitled)’
Photo credit: Parker Film Company/Samuel Goldwyn Films

HollywoodChicago got the opportunity to talk to Adam Goldberg about this challenging and enlightening film, and his perspective provides further insights into this substantial release.

HollywoodChicago.com: You essentially played a darker, deeper variation on a character that you are known for, the twitchy neurotic intellectual type. How did your past work with that character type help you in relationship to your portrayal of Adrian?

Adam Goldberg: There were definitely certain aspects of myself that I needed to amplify for this film, and other aspects that I needed to turn down. It was a tuning process to find a balance, because there are definitely certain things I can relate to about Adrian and other things that were hyperbolized. However, after I read the script, I felt that the character was clearly defined.

HC: There is an uncompromising grace in arc of all the characters in (Untitled), a rare feat. Do you feel that you, your fellow actors and the rest of the production crew dug deeper within the material because it was so strong?

AG: In situation with films like this you don’t have as much time, and not as much money, but I’ve found that most people are there because they want to be there, as opposed to it just being a paying gig.

In a uniform sense the people involved were trying to tap as much as they possibly could in themselves. And the director, too, hired everyone because he knew they were going to be good. It turned out to be a very collaborative process. There wasn’t a lot of rehearsal or a lot of time, but there was a lot of discussion in tracking the character’s arcs.

With all the characters there are no definitive didactic statements. Their development is about walking the line and staying true to the character, but at the same time poking holes in the armor so the audience can see some vulnerability and what’s going on in them. In my character of Adrian, it was a minor shift. I had lots of discussion, for example, about how he wouldn’t smile.

Sibling Rivals: Eion Bailey as Josh and the Unsmiling Adam Goldberg in ‘(Untitled)’
Photo credit: Parker Film Company/Samuel Goldwyn Films

HC: (Untitled) is very poignant in showing the truth in staying true to one’s self in artistic expression, despite the pain it sometimes causes. How did you relate this to your character Adrian in the early readings of the script?

AG: In a sense, he is too true to his atonal musicianship, cutting off the harmony to spite his face. He on the one hand believes in what he is doing and on the other hand questions it. He stubbornly stands by his atonal self even though it is shown he is capable of playing beautiful melodies.

He overcompensates for his point of view in an effort to defend it. Ultimately the lesson in the film in part is that you can only end up doing what you do and being yourself. If that ends up being minimalist atonal cacophony so be it. But maybe it also means it’s okay to be successful. Some sort of mainstream acceptance does not equate to a lack of artistic integrity.

HC: We see a New York City in this film that is less familiar and more claustrophobic than usual screen portrayals. What was director Jonathan Parker communicating with this scenic approach?

AG: My sense from the very beginning was that although this is New York City, present day, that there was kind of other worldly feel to it. Adrian, for example, somehow has the last affordable bohemian apartment left in Soho. It’s a holdover from the old days.

Also the world the art gallery characters live in is a bubble world. Adrian’s bubble is even smaller. Although you can identify the area as New York City, it isn’t necessarily about New York as a whole but more of the ‘islands’ within the island.

HC: You are a published and recorded musician yourself. Did you relate to Adrian’s approach to his music art or did you think he was a little much and what did you personally learn about the atonal symphony composition?

AG: For many years I been a fan of the musician Steve Reich, who is a minimalist composer. He began with samples of hand claps, street sounds and pianos, and would phrase them to become this hypnotic repetition. Ultimately he incorporated these elements into very beautiful symphonic structures.

Where we find Adrian is in an earlier phase. He’s not necessarily getting it all right either, he’s become beholden to this intellectual concept that one thing has nothing to do with the other and those two worlds can’t co-exist.

To that extent I don’t relate to him, but I do relate to the idea using soundscapes and sound objects. I have done that in my own music, but it is tuneful. The idea is to create an atmosphere where the song lives. I get the atonal thing intellectually but don’t do it in my own music.

HC: Interestingly enough, the characters in (Untitled) all come to a redemption of sorts by the end. Which of the characters keep evolving the strongest, do you think, or has the best future ahead of them and why?

AG: In a weird way I think probably Eion Bailey’s character, who was my brother Josh in the film, there is something about the acceptance of who he is as himself. It is his character that decides that his artwork is not going to make the Museum of Modern Art, but this is the stuff he paints and he’s happy to be showing it, period.

Eion was last minute casting, replacing somebody who had dropped out. We were all on pins and needles because we were about to shoot. But he made some great choices for the character, with little evolutions rooted to himself.

HC: The art world can be both objective and subjective. What part of the pursuit of art, including your experience with acting and music, do you find to be most satisfying in this process of object and subject?

AG: I struggled with this a lot. Not so much as an actor, for as an actor I feel like my job is to do whatever I can with the material presented, sometimes I succeed and other times I don’t. The things I feel I can be judged on are the things I’ve created from the ground up.

My music, which was well received, and the two films I’ve created, which were more divided reactions, is what I’m most proud of. If I’m going to be judged for something, it should be for the things that I’ve put every ounce of myself into.

Ultimately nothing is more satisfying as the process of making my works. When you start with something that is nothing, a blank screen, and you end up with images, sounds, people’s performances, there is no failing in that regard. There will always be different perceptions of the work, but you can’t control that.

The success is never really enough anyway, what you are left with is what you’re going to do next. In the end, you need to embrace the fulfilling aspects of creation.

HC: Even though you have never actually served in the military did you feel like you had after ‘Saving Private Ryan’ and what appreciation did you come away with for that service, especially in the context of the World War 2 veteran?

AG: It was a totally transformative experience, there is no question about it. As the years go by, the thing I kind of glean the most from that experience was this connection to service, in particular with the guys who fought that war. I was moved by those men and women, and even the homefront. What a different time it was, how connected everyone was. There was something about it that felt like another planet.

When I got home from it, I definitely felt like I had military experience. Particularly the boot camp, even though it was abbreviated. We were camping for five days, eating rations and referring to each other by our character names. It was as important to me to appeal to Dale Dye, the military advisor, as it was to appeal to Steven Spielberg. I had to portray this guy as honestly and thoughtfully in the military sense as in my acting performance.

HC: What was the atmosphere on the set of ‘Dazed and Confused?’ and are you surprised about the number of actors that broke out from that seminal film and had prosperous careers?

AG: I am not surprised. When we were doing it, we had concerns about how it was going to be released, because we wanted it to be as exciting to an audience as we thought it was. It was released in far fewer theaters than we all were led to believe. It was almost destined to be a cult movie just by virtue of how it worked out.

It was a great film to be a part of at the time, in that particular phase of being 17 through your early 20’s as an actor. So many people were so good in that film, that it was obvious it was going to be a breeding ground for breaking out, not unlike ‘Fast Times at Ridgemont High’ and ‘American Graffiti.’

It was a exciting set atmosphere, very familial and clique-oriented. It was like a very condensed college experience, even though it was only a month. We were all running amuck in this hotel, even a security guard made me stay in my room all night (laughs). It was a free-for-all the whole time.

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

DVD Review: Complete Set For ‘Eleventh Hour’ Available Online

BrianTT — Wed, 04 Nov 2009 13:40:33 -0700

CHICAGO – There simply wasn’t space on television for both “Fringe” and “Eleventh Hour”. As soon as I saw them, I knew one or both of the fall 2008 shows would have to go. With the strong lead performances by the great Rufus Sewell and beautiful Marley Shelton, I thought “Eleventh Hour” had the edge, especially after it did pretty well in its first season.

As many of us know, “Fringe” is currently struggling for ratings on FOX and CBS’ “Eleventh Hour” has been reduced to a cheap, online-only, feature-free complete series set. The show was far from perfect but it deserved better than this fate.

DVD Rating: 2.0/5.0

The problem with “Eleventh Hour” is clear just after disc one of the series set - it wasn’t original enough to distinguish itself from not just “Fringe” but countless other shows. The program often feels like “CSI: The X-Files,” being clearly inspired by the procedural shows that still serve as the backbone of CBS. It’s just another variation on a well-played tune. Only strong performances from its two consistent leads made it an occasionally entertaining diversion.

Eleventh Hour: The Complete Series was released on DVD on October 22nd, 2009.
Photo credit: Warner Brothers Home Video

Sewell plays Jacob Hood, who could easily be called a combination of Adrian Monk and Fox Mulder. The overly eccentric Hood swoops in when mysterious cases involving science gone out of control rear their head. In a world of cloning and chemical warfare, the DNA-collecting teams of “CSI” are not always enough. Sometimes you need someone willing to look at a case from another angle and Hood definitely sees things that other detectives do not.

Hood is overseen by Rachel Young, the consistent but always underused Marley Shelton. With upcoming turns in “(Untitled)” and “Women in Trouble,” Shelton is one of those young actresses that seems perpetually on the verge of stardom without ever quite getting there. She was woefully used as second fiddle on “Eleventh Hour,” always playing back up to the mystery of the week and Sewell’s lead.

“Eleventh Hour” was canceled after not being able to hold its “CSI” lead-in audience, but the move, especially now with NBC giving up on the 10pm timeslot, was surprising, especially when one realizes that the show finished 22nd on the year with an average of 12.11 million viewers a week, above its premiere numbers. CBS made a number of unusual decisions at the end of the 2008-09 season. Canceling “Eleventh Hour” was definitely one of them.

The only eighteen episodes of “Eleventh Hour” ever produced are included in a six-disc set that is exclusively available through the Warner Brothers Shop. Sadly, it includes no special features and the technical presentation is below average with night scenes looking downright embarrassingly dirty.

A decent show with decent ratings was canceled and has now been given a sub-par complete series treatment. It’s a mystery worthy of Jacob Hood.

‘Eleventh Hour: The Complete Series’ is released by Warner Brothers Home Video and stars Rufus Sewell and Marley Shelton. The show was created by Mick Davis. The show was released on DVD on October 22nd, 2009, available only online. It is not rated. It runs roughly 13 hours.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com