We Are Movie Geeks

WAMG Talks To KEANU REEVES And MARK MANN

Keanu Reeves is making his way back onto the big screen on friday starring in the new film GENERATION UM… a tale of three friends who form an intimate bond as their deepest secrets from their past are revealed after partying in New York City the night before. Friendships are tested and compromises are made as these three friends are preparing to do it all again tonight. Recently, I got the chance to sit down with both Keanu Reeves and director Mark Mann in a roundtable discussion about the film. Check it out below.

Keanu, your character is kind of a kleptomaniac in the film.

Keanu Reeves: Yes. I steal a camera and some chocolate. (laughs)

When you’re reading it and playing it, what did that bring to the character?

Keanu Reeves: Stealing the camera for John was the only thing he could do in order to have that camera. We see him walk up to a camera store earlier and then we see him retrieve a broken television set. In that moment, he’s just kind of explained to this other character how he’s felt trapped in his life, like he’s lost and has no direction. In this moment of watching this group of people do this improvisation dance in this park in the lower East side of New York, he sees an opportunity for something he’s interested in and it’s one of the times that he steps out of himself and he takes it. I think for the candy bar, he’s hungry and he wants some chocolate and he’s depressed. It’s one of those things that, I don’t know, there’s a part of him that likes to steal and there’s a pleasure in it. There’s a little bit of a nuance of that character to that. I had a conversation about how am I going to steal that candy bar? And Mark was like, “I’m going to introduce you to this magician!” And I was like, “Mark, I know how to steal a candy bar.”

Mark Mann: I really enjoyed it when you jumped over the turn style table.

Keanu Reeves: Oh, that’s right!

Mark Mann: He’s just trying to do stuff…

Keanu Reeves: He’s just a petty criminal.

My question to you Mark Mann, what was the thinking behind that when you were writing this?

Mark Mann: You know, I was just thinking about how do you change your life? Often times I think you have to make a bold move and you have to do something that people don’t necessarily congratulate you for, to give yourself what you need to move forward. I guess you can speak metaphorically, it’s kind of the way things have gone. We’ve sort of entered into sort of the time where that kind of thing was sort of seen as the only way to actually get ahead. For better for worse, it has entered into our sense of right and wrong.

In terms of seeing him do that thinking he’s the bad guy because he’s a thief?

Mark Mann: No. You know…

Keanu Reeves: It’s a complication. He at least pays for the coffee.

Mark Mann: There’s a management of wrongdoing because in the whole movie John is also enabling… it’s nurturing versus enabling. Every single scene in the movie has a yes and a no. If you think about it in the context of what his job is, stealing a candy bar, it’s a consistency of character that rolls through the whole movie.

Being a character of such few words you’re forced to rely on what you’re emoting. What was the biggest challenge with that? Because you have to emote the various layers.

Keanu Reeves: Yeah, to me that was a wonderful opportunity. I would say the scariest scene was the scene where John and Violet come together, because playing John I had no idea how could actually happen. Like I had no idea. How could this person who felt so vulnerable, insecure and wanted to reach out and had so many questions, and also how could he help someone really feeling just… how is that going to happen in the modern film world? How do these two people hug each other?

Mark Mann: It’s one of the longest hug scenes maybe ever on film. It’s long. Altogether it’s got to be over five minutes. It was the hardest scene in the movie to cut, hands down. That was the one I started with absolutely the most and was the last piece… it was finding that level of…

Do you feel like every filmmaker should also be an editor?

Mark Mann: No. I think it’s nice to have different perspectives on it all. Every filmmaker should make their film.

I really like how you used the camera as a catalyst for change. I thought it was very interesting. Is that from being a documentary filmmaker?

Mark Mann: I guess I made films on some level about what I know and I made two now, they’re both filmmaker films. They’re about the filmmaking process on some level because it’s been my thing. I like doing it and it’s taken over my life. The first movie is sort of a documentary about the narrative filmmaking process, narrative editing process and the second is a narrative that sort of incorporates a man learning how to use a camera in a documentary. There’s elements of it, yes.

We talked to the two lead actresses earlier and they were talking a lot about how great the rehearsal process was, getting to know you and trying to get your attention in figuring out how to work out certain scenes. Could you just elaborate on the whole rehearsal and the improvisation in general, especially when it came to having the camcorder in the picture.

Keanu Reeves: Yeah there was no improvisation in the sense of dialogue in any of the movie until the end credits scene, but there was how are we going to do these scenes which we kind of worked out. Mark was really collaborative, really downloaded everybody on sharing his perspective and what was your perspective, your character. Then when we got together, we found that we were all so fond of the piece and so that there was a real kind of… we would sometimes talk about it in the third person. Like okay, isn’t this great when John and Violet come together? Yeah, and I love it when it deals with intimacy and lies and the levels that… and then we would kind of get into it and there was a real kind of comradery with us. I remember Mark asked me to go out on the street and take some pictures and do his project. Then Bojana (Novakovic), Adelaide (Clemens) and I we got to a bar and took pictures that are on the fridge in the movie, the photo booth and stuff. So there was a lot of life and art kind of coming together, which when you’re making a film, that’s one of the coolest things. Artists are coming together in like mind about the work and Mark really kind of fostered that.

Mark Mann: When you start to inject hope and optimism and love inside a wrapper of disassociation and alienation, you get a very complicated thing. That what ultimately makes the film. They did that.

Plus I got the sense with your character, and the same with Serena _, that they both listen. You don’t kind of assault the world with noise, which I really felt from the film, and I was wondering it’s called “Generation Um,” is that how it works? Is this what we’re becoming? We just talk at each other and nobody really listens?

Mark Mann: I’m sorry, what did you say? (laughs)

Is that how you redeem them? Give them a profile to… you listen to them. You let them kind of tell their story. Is that what we need? Is that kind of the message of the film?

Mark Mann: That’s definitely one part of it. First Sarita (Choudhury), she’s great. But yes. And what’s going on behind you as you’re doing the filming. You see the whole relationship between the both of them. Their energy was… the joy of working with actors like Keanu, Sarita and Daniel (Sunjata) in that particular scene is that they were so connected but they were not even looking at each other. You get the whole relationship. The answer to your question is yes. That is definitely a piece of it. We’re becoming immune to anything, to everything, and nothing is shocking anymore.

Keanu Reeves: But that’s not true.

Mark Mann: Well it kind of is.

Keanu Reeves: It isn’t.

Mark Mann: All right.

Keanu Reeves: I would say that nothing’s shocking. I would say that there’s a state of shock.

Mark Mann: Maybe yeah.

Keanu Reeves: And I think these characters are shocked characters in a way in transformation, in trying to change, to reach out, to try and have a kind of intimacy, to have a kind of connection.

Mark Mann: It’s an interesting blend of perceptions on things. When writing a script and portraying a character that’s written in a script, it fascinates me, the subtle differences in motivation. Whatever my intention in writing it or his intention of playing that character, they are different and we can talk about it and it’s a really fun conversation. The dialectic is..

Keanu Reeves: Solo and communal. It’s personal and inherent. It’s a conflict and collaboration.

Mark Mann: It’s sitting alone in a room and it’s being in a room full of people.

Keanu Reeves: Yeah… and here we are!

I was just curious what each of you at the end of this process, looking back, appreciated most or took away most from working on this.

Mark Mann: You know, I appreciate… Working with Keanu, it’s my first narrative film and I feel very honored to have been able to make the film I wanted to make without really any restrictions. We got to let it be organically what it was and a big part of that is Keanu’s influence. I appreciate that because I was allowed to just make the film and without people coming in, bugging me and everything, which I’ve heard stories about that. I’ve just been very lucky and working with all of them it’s just the patience, the honesty. Walking into a room with a bunch of people that you really respect and having them love your work right there in the room, I can’t even describe it. I mean, wow. It’s the script and they did, they put love into it.

Keanu Reeves: Well that was a good piece of bread. You made some nice dough so… you’re a good baker! And I was happy to be a part of that. What a nice recipe.

Mark Mann: You’re my favorite bag of flour.

Keanu Reeves: Yeah… and I would say that. I would say that the opportunities, there are so many pleasures that Mark’s story offered me as an actor and also as something to my tastes. This idea of hope in kind of these trapped character. Also, the way that he was trying to tell the story in a non-traditional way. Not re-inventing the wheel but paying homage to a lot of levels cinematically and contextually and also respect to the audience. For these characters to play, they’re letting me shoot scenes and to be creative in that way. So I would say the opportunity to be creative and to have the experience making the film.

Where did the idea for New York City chase scene come from involving hula hoop cowboys?

Mark Mann: That questions is… I’m not even sure how to answer that question. It came out of… it was originally something different and something that could not be done, so at the end of it it became how to get the action of the movie from point to the next part of the film. It is the transition. It came from wandering through New York and just having odd experiences happening all around me. It came from involving a hundred extras or however many people in a little tiny film. Certain things just happen and it just sort of grows in its own accord. It came from wanting to jump the turn style in the New York City subway. It came from wanting to shoot on the subway as a filmmaker. It came from wanting to do something absurd and to tip my hat to French absurdist filmmaking and a million other things. It came from the parking lot it was shot in as a flea market that I’ve been passing by for fifteen years. It came from wanting to shoot in that parking lot, and it came from wanting to seeing John be chased down the street by a hoard of hula hooping cowboys and looking at the smile on his face as he’s doing it.

Directed and written by Mark L. Mann GENERATION UM stars Keanu Reeves, Bojana Novakovic, and Adelaide Clemens. Executive produced by Nicolas Chartier, Cassian Elwes, Zev Foreman, Jared Goldman and produced by Alison Palmer Bourke, Caroline Kaplan, and Leymore Syvan. With original music by Will Bates, Phil Mossman, and Fall On Your Sword. Cinematography by Mauricio Rubenstein and film editing by Melody London.

GENERATION UM… is on VOD April 26^th and opens theatrically in Los Angeles and New York on May 3

The DESPICABLE ME 2 Minions Invade Great Day Live In Louisville Ahead Of Despicablimp At Kentucky Derby

Here’s a look at what happened earlier today when one of Gru’s minions visited Great Day Live in Louisville, Kentucky.

The Despicablimp made its first appearance over the Nickelodeon 2013 Kids’ Choice Awards in Los Angeles on March 23. The gigantic Minion then headed to Telemundo’s Billboard Latin Music Awards in Miami, FL on April 25 and then up to Louisville. For those in the area, be on the lookout for the enormous Despicablimp at the Kentucky Derby, Louisville, KY this Saturday, May 4. The inflatable minion will eventually make it’s way to the DESPICABLE ME 2 World Premiere, in Hollywood, CA on June 22nd.

The Despicablimp may be tracked in real-time via GPS at the Despicablimp Command Center (www.despicablimp.com).

Fans can tweet sightings of the blimp or post photos to Instagram or Flickr using #despicablimp (twitter: https://twitter.com/despicablimp) to see it featured on the site, and participate in weekly prize giveaways. Visitors to the site can also enter for a chance to win a trip for four to the Hollywood world premiere of DESPICABLE ME 2 and get the once-in-a-lifetime chance to ride in the blimp!

Universal Pictures and Illumination Entertainment’s worldwide blockbuster DESPICABLE ME entertained audiences around the globe in 2010, grossing more than $540 million and becoming the 10th-biggest animated motion picture in U.S. history. In summer 2013, get ready for more Minion madness in DESPICABLE ME 2.

Chris Meledandri and his acclaimed filmmaking team create an all-new comedy adventure featuring the return of (former?) super-villain Gru ( Steve Carell ), his adorable girls, the unpredictably hilarious Minions…and a host of new and outrageously funny characters.

With a host of new and outrageously funny characters, the sequel stars the voices of Steve Carell, Kristen Wiig, Al Pacino, Miranda Cosgrove, Dana Gaier, Elsie Fisher, Nasim Pedrad, Moises Arias, Russell Brand, Ken Jeong, and Steve Coogan.

From original DESPICABLE ME directors Chris Renaud & Pierre Coffin, the 3D-CG comedy adventure will be in theaters July 3, 2013.

Visit the official site: http://www.despicableme.com/

“Like” on Facebook: http://www.facebook.com/DespicableMe

Follow on Twitter: @DespicableMe

STAR TREK INTO DARKNESS – New IMAX Poster, Atom Art, And Character Featurettes; Positive Early Reviews

Hey Trek fans, it’s the 1st of May and we’re a mere 15 days away from the 12th STAR TREK movie. The early reviews from England and Ireland have been very positive – J.J. Abrams’ sequel opens there on May 9th. For those of us who have subscribed to this established dogma, you’ll be happy to see, “The rule of great even-numbered Trek movies continues.” You can read the reviews HERE.

STAR TREK INTO DARKNESS is warping onto IMAX screens across the U.S. on May 15th. Check out this new IMAX poster of the starship Enterprise being persued by a menacing USS Vengeance.

Fans attending the 8PM IMAX screening on May 15 will receive the first IMAX FANFIX print from artist Mark Englert. Click HERE for participating theatres.

Fan sneaks of STAR TREK INTO DARKNESS: An IMAX 3D Experience will take place on May 15th at 8pm and 11pm.

Did you know that IBM + Star Trek = Atom Art

As part of their most recent endeavor, IBM scientists have created custom Star Trek art made out of individual atoms. Scientists used a microscope the size of a room to maneuver single atoms to form the shapes of the Enterprise, the Vulcan salute, the Star Trek logo, a U.S.S. Enterprise the height of a single nanometer, and an animation of the Star Trek logo.

Using the smallest object known for engineering data storage – atoms – IBM scientists shrunk the big screen down to the atomic level and created “The World’s Smallest Movie: A Boy and His Atom.” The tiny Guinness World Record certified movie is comprised of almost 250 stop-motion frames that were combined into an animated film. To help bring this world of atoms to life, the scientists used their scanning tunneling microscope, a unique two-ton microscope that operates at -268 degrees Celsius to tell a short story of a boy (who’s made of atoms) playing with an individual atom. You can check out IBM’s movie, behind-the-scenes footage, video diaries and atomic shorts on different technical aspects of the movie here: youtube.com/madewithatoms.

Watch Captain Kirk and Scotty navigate a crumbling USS Enterprise in the “Keep Going, Scotty” clip.

Speaking of the chief engineer, check out this new Scotty featurette followed by one for his fearless leader, Captain James Tiberius Kirk.

In the wake of a shocking act of terror from within their own organization, the crew of The Enterprise is called back home to Earth. In defiance of regulations and with a personal score to settle, Captain Kirk leads his crew on a manhunt to capture an unstoppable force of destruction and bring those responsible to justice. As the heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.

STAR TREK INTO DARKNESS opens in the U.S. in select theaters in IMAX 3D on May 15th and theaters everywhere May 17, 2013.

The film is rated PG-13 for intense sequences of sci-fi action and violence.

STAR TREK INTO DARKNESS is written by Roberto Orci & Alex Kurtzman & Damon Lindelof and directed by J.J. Abrams. Abrams is producing with Bryan Burk through Bad Robot Productions, along with Lindelof, Kurtzman and Orci. Jeffrey Chernov and Skydance Productions’ David Ellison, Dana Goldberg and Paul Schwake are the executive producers.

WWW.STARTREKMOVIE.COM

Like on Facebook: https://www.facebook.com/StarTrekMovie

Follow on Twitter: https://twitter.com/startrekmovie #StarTrek #IntoDarkness

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http://www.startrekmovie.com/StarTrekApp/

Are you one of the chosen few? To find out post an Instagram or Vine inspired by Star Trek or the future to Twitter with #THE1701.

http://www.areyouthe1701.com/#/Home

You can bid for a four-pack of VIP tickets to attend the STAR TREK INTO DARKNESS premiere in Los Angeles. The winners will walk the red carpet, meet director J.J. Abrams and the cast, and attend the premiere after-party. Paramount Pictures and Bad Robot will match the winning bid, up to $25,000.

Proceeds will benefit The Mission Continues and its work to empower post-9/11 veterans on their new missions here at home.

Bidding is open now through Thursday, May 9^th at www.Charitybuzz.Com/StarTrek

Glenn Close, Frank Langella And Bérénice Marlohe Join Cast Of Romantic Comedy 5 TO 7

Six-time Oscar nominee Glenn Close (ALBERT NOBBS), Oscar nominee Frank Langella (FROST/NIXON), Bérénice Marlohe (SKYFALL), Lambert Wilson (OF GODS AND MEN) and Olivia Thirlby (JUNO) have joined the cast of Mockingbird Pictures and Demarest Films’ 5 TO 7 alongside the previously announced Anton Yelchin (STAR TREK INTO DARKNESS). The film, set to start shooting in May in New York, is written and will be directed by Victor Levin (AMC’s “Mad Men”).

5 to 7 is being produced and co-financed by Sam Englebardt and William D. Johnson of Demarest Films, and by Bonnie Curtis and Julie Lynn of Mockingbird Pictures with their investor group as executive producers. The film is co-executive produced by Lisa Wilson and Myles Nestel of The Solution Entertainment Group, which is handling international sales and will represent the film at the Cannes Film Market. CAA and WME are co-representing the U.S. rights.

5 TO 7 is set in New York, where an aspiring novelist, Brian, (Yelchin) has an extra marital cinq-a-sept affair with the beautiful wife of a French diplomat, Arielle (Marlohe). Cultures, world views, personal ethics and dietary preferences clash as love deepens, with remarkable results in this romantic comedy.

Wilson will play Arielle’s husband, Valery, with Thirlby playing a New York book editor, Jane, who develops a strong friendship with Yelchin’s character. Langella and Close will play Brian’s parents, Sam and Arlene.

Englebardt, Co-CEO of Demarest Films, a privately funded film and television production company, said, “Julie and Bonnie are outstanding producers with impeccable taste, as evidenced by their discovery of Vic Levin’s amazing screenplay. We’re thrilled to be working with them, Vic and all the talented actors who have joined the cast. We look forward to collaborating with Mockingbird Pictures again on future projects.”

5 to 7 joins Demarest’s growing slate which includes such films as PARANOIA, starring Harrison Ford, Gary Oldman, and Amber Heard; A MOST WANTED MAN, starring Philip Seymour

Hoffman and Rachel McAdams; Robert Rodriguez’s MACHETE KILLS, starring Jessica Alba and TWO NIGHT STAND, starring Miles Teller and Analeigh Tipton.

“Vic Levin’s script has us in tears — we’re just not sure if it’s from laughing or crying. We’re excited about the grace and intelligence that he and our wonderful cast will bring to their interpretations of his beautiful story,” said Curtis and Lynn.

“5 TO 7 is an impressive project with an ensemble of acting talent that is exceeding all expectations. We anticipate a great deal of interest in this hot project at Cannes,” said Wilson and Nestel.

Six-time Oscar nominee Glenn Close has been nominated for her iconic roles in such films as DANGEROUS LIASONS, FATAL ATTRACTION, THE BIG CHILL and most recently in ALBERT NOBBS.
She will next be seen in THE GRACE THAT KEEPS THIS WORLD opposite Brit Marling and ALWAYS ON MY MIND co-starring Nick Nolte, both in pre-production.

French actress Bérénice Marlohe made her breakthrough performance in last year’s global box office phenomenon, SYKFALL, the latest James Bond installment co-starring opposite Daniel Craig and Javier Bardem. She will next be seen in Terrence Malick’s untitled project starring Ryan Gosling, Michael Fassbender, Christian Bale, Natalie Portman and Cate Blanchett, currently in post-production.

French actor and six time Cesar Award nominee Lambert Wilson is most well-known to audiences for his portrayal of The Merovingian in THE MATRIX trilogy and for his critically acclaimed performance in OF GODS AND MEN, winner of both the Cannes Grand Prix Award and Cesar Award for Best Film. He next stars in CYCLING WITH MOLIERE which made its US premiere at the 2013 COLCOA French Film Festival and was selected for the Spotlight section at the 2013 Tribeca Film Festival. He will also appear in POSTHUMOUS opposite Jack Huston and Brit Marling, currently in post-production.

Olivia Thirlby rose to fame with her stand out performance in the Academy award-winning film, JUNO, opposite Ellen Page. She starred in 2012’s Sundance Special Jury Prize Winner NOBODY WALKS, with John Krasinski and RoseMarie DeWitt, which was released by Magnolia Pictures in the fall. Her other screen credits include DREDD, NO STRINGS ATTACHED and THE DARKEST HOUR.

Frank Langella was nominated for an Academy Award for his portrayal of Richard Nixon in Ron Howard’s FROST/NIXON. Last year he starred in the Sundance hit ROBOT & FRANK with Liv Tyler and James Marsden. His upcoming projects include GRACE OF MONACO opposite Nicole Kidman and Tim Roth due for release via The Weinstein Company in December 2013 and he is in pre-production on Mike Newell’s REYKJAVIK with Christoph Waltz and Michael Douglas.

Anton Yelchin will next star in J.J. Abrams’ highly anticipated summer blockbuster STAR TREK INTO DARKNESS opposite Chris Pine and Zoe Saldana, hitting theatres this month through Paramount Pictures. He will also be seen in Jim Jarmusch’s ONLY LOVERS LEFT ALIVE with Tilda Swinton and Tom Hiddleston, which will make its world premiere in competition at the 2013 Cannes Film Festival. His other screen credits include indie hit LIKE CRAZY co-starring Felicity Jones, Disney’s FRIGHT NIGHT and Warner Bros. TERMINATOR: SALVATION.

Marlohe and Langella are repped by ICM, Thirlby, Close and Yelchin by CAA and Wilson by Untitled Entertainment’s Michael Lazo.

Top 10 Ways To Celebrate “May The 4th Be With You” STAR WARS Day

Since the very first Star Wars movie came out in 1977, fans everywhere have made the galactic saga their own and found creative ways to celebrate their love of the Force. One of the most visible ways is annually transforming the date of May 4th into “May the Fourth,” the day that Star Wars fandom has created to share their passion around the world. Fans of all ages wear their favorite Star Wars items, partake in parties and screenings, and pass on messages of “May the Force be with you” in person and online.

Lucasfilm has long supported Star Wars fans in their grassroots celebrations, whether they be extravagant or small. Visit Lucasfilm’s official May the 4th microsite, http://maythe4th.starwars.com, for Star Wars Day news, ideas on how to celebrate, special events calendar, themed recipes, fun crafts and activities, fan photos, and a regularly updated list of deals and promotions from major online and brick-and-mortar retailers. Keep track of the Force of fans on Twitter with the #maythe4thbewithyou hashtag — @StarWars will be tweeting highlights on May the 4th and in the days leading up to it.

So what’s the history behind this special day?

Just say “May the 4th Be With You” out loud and you’ll hear the pun that Star Wars fans worldwide have turned into a rallying cry to proclaim their love of the saga. It’s the worldwide day to say “May the Force be with you” to all, and celebrate the beloved Star Wars story that binds our galaxy together.

One of the earliest known records of “May the 4th” used in popular culture is in 1979, as described here by author Alan Arnold while he was chronicling the making of The Empire Strikes Back for Lucasfilm:

Friday, May 4th

Margaret Thatcher has won the election and become Britain’s first woman prime minister. To celebrate their victory her party took a half page of advertising space in the London Evening News. This message, referring to the day of victory, was “May the Fourth Be With You, Maggie. Congratulations,” further proof of the extent to which Star Wars has influenced us all.

Once the Internet allowed Star Wars fans around the world to connect with one another, May the 4th soon became a grassroots tradition each year, with fans online and offline proclaiming it “Star Wars Day.”

While the idea of May the 4th did not start with Lucasfilm, the film company that created Star Wars has fully embraced the spirit of fandom that makes the day so special. The official blog at StarWars.com as well as the official Star Wars social media channels on Twitter (@starwars #MayThe4thBeWithYou) and Facebook (facebook.com/starwars) help spread the word and showcase fan activity. More and more official partners have offered sales, giveaways and exclusives, and have hosted parties and other activities to mark the day.

May the 4th kicks off a season of celebration, particularly since the month of May has always been important to Star Wars fans. The six live-action movies of the Star Wars saga debuted in May (starting with the original Star Wars on May 25th, 1977) and this year, May 25th marks the 30th anniversary of Return of the Jedi. The month of May includes George Lucas’s birthday (May 14, 1944), and has been the traditional start date of the popular Star Wars Weekends at Walt Disney World Resort (this year, the fun begins on May 14th).

With the exciting launch of a new trilogy of movies beginning with Star Wars: Episode VII coming in the near future, this day to celebrate the saga and its amazing fans is certain to become even bigger each year.

Whether you are part of the Rebel Alliance or loyal to the Empire, here are 10 ways for all you Stormtroopers, Jedis and Wookies to celebrate the 4th.

Have a Star Wars movie marathon with friends and family! But do you start with the prequels or the original trilogy? Do you mix in some episodes of The Clone Wars? Better decide before your guests arrive, or you may spend the day in a heated debate.
Dressing up for special occasions is important, and May the 4^th is no different. Wearing anything from your favorite Star Wars shirt to full-on Stormtrooper gear is completely acceptable. (It’s okay to dress up your pet, too. Bounty hunter bulldogs are especially encouraged.)
Food is an essential part of any holiday. Death Star Popcorn Balls or Wookiee Cookies, anyone? Find a variety of recipes on StarWars.com!
Toast the saga with the ultimate Star Wars-themed beverage: blue milk, just like Aunt Beru used to make! (Fortunately, unlike Aunt Beru, you don’t own the droids the Empire is looking for.)
Feel the Force with Star Wars crafts: turn old socks and rocks into awesome Star Wars keepsakes! Learn how to make a Chewbacca Sock Puppet, Star Wars Snow Globe, and more at StarWars.com!
Have you Vadered anyone yet? Now’s the time to give it a try…and be sure to Tweet your photo to @starwars!
You know that Rebel Alliance symbol tattoo you’ve been thinking about getting? Today’s the day.
Sometimes people use holidays to travel to new places. Why not go to Disneyland or Disney World and ride Star Tours? There are over 50 separate mission possibilities…so don’t plan on eating lunch beforehand.
As Yoda said, “Pass on what you have learned.” Introduce a younger sibling, family member, or friend to Star Wars!
Do you have any Star Wars toys that you don’t need any more? Donate them and make May the 4th really memorable for children in need.

However, if The Force doesn’t work on your friends or family, you can always pull a Vader. “Join me, and I will complete your training. With our combined strength, we can end this destructive conflict and bring order to the galaxy.”

Lucasfilm, the Lucasfilm logo, STAR WARS and related properties are trademarks and/or copyrights, in the United States and other countries, of Lucasfilm Ltd. and/or its affiliates. TM & © 2013 Lucasfilm Ltd. All rights reserved. All other trademarks and trade names are properties of their respective owners.

Win A Pass To The Advance Screening Of PEEPLES In St. Louis

Lionsgate’s upcoming film, PEEPLES is a hilarious new comedy, full of priceless laugh-out-loud lessons in what NOT to do when meeting your future in-laws, starring Craig Robinson (Wade Walker), Kerry Washington (Grace Peeples), and David Alan Grier (Virgil Peeples).

Sparks fly when Wade Walker (Craig Robinson) crashes the preppy Peeples annual reunion in the Hamptons to ask for their precious daughter Grace’s (Kerry Washington) hand in marriage. Wade might be a fish-out-of-water among this seemingly perfect East Coast clan, but he’s not about to let himself flounder. Instead, in a wild weekend of fun, dysfunction and hilarious surprises, Wade is about to discover there’s room for all kinds of Peeples in this family, no matter their differences.

Writer and first-time director Tina Gordon Chism joins forces with Tyler Perry to present a laugh-out-loud look at the family ties that freak us out . . . but bind us together with love.

PEEPLES stars Craig Robinson, Kerry Washington, David Alan Grier, S. Epatha Merkerson, Tyler Williams, Melvin Van Peebles, and Diahann Carroll.

Catch PEEPLES in theaters everywhere May 10, 2013.

Lionsgate and WAMG invite you to enter to win a pass (good for 2) to the advance screening of PEEPLES on May 7th at 7:00 PM in St. Louis.

Answer the following question:

Director Tina Gordon Chism wrote what 2002 movie starring Zoe Saldana?

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. SEND YOUR NAME AND ANSWERS TO: michelle@wearemoviegeeks.com

3. YOU MUST SUBMIT THE CORRECT ANSWER TO OUR TRIVIA QUESTION ABOVE TO WIN.

4. WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS. NO PURCHASE NECESSARY. PASSES WILL NOT BE SUBSTITUTED OR EXCHANGED. DUPLICATE TICKETS WILL NOT BE ACCEPTED.

The film has been rated PG-13 for sexual content, drug material and language.

http://www.peeplesmovie.com/

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Lightning Entertainment Acquires International Rights To GUS Starring Michelle Monaghan And Radha Mitchell

Lightning Entertainment, the Santa Monica-based sales, production and distribution company, has acquired international rights to the hit South by Southwest Film Festival comedy, GUS, starring Michelle Monaghan (SOURCE CODE, GONE BABY GONE) Radha Mitchell (OLYMPUS HAS FALLEN, SILENT HILL) and Michael Weston (Fox’s “House,” HBO’s “Six Feet Under”), it was announced today by Robert Beaumont, President of Lightning.

The film, which premiered at the South by Southwest Film Festival to rave reviews in March, marks the feature film debut of Jessie McCormack, who directed from her own script.

McCormack is also a producer alongside Kathryn Himoff, Kevin Fitzmaurice Comer and Erik Van Wyck. The film is executive produced by Richard N. Gladstein (FINDING NEVERLAND, THE CIDER HOUSE RULES, THE BOURNE IDENTITY). The deal was negotiated by Lightning Entertainment’s Joseph Dickstein and ICM Partners on behalf of the filmmakers. ICM Partners represents Monaghan and Mitchell and is also repping US rights to the film.

Mathilde Epstein and Alexandra Cocean, Lightning’s VPs of International Sales, as well as Richard Guardian, Lightning’s Acquisitions & Sales Consultant, will introduce the project to buyers at the upcoming Cannes Film Market in May. The film will be making its market premiere on Thursday, May 16th.

GUS tells the story of Lizzie (Mitchell), who longs to start a family with her husband Peter, but is unable to conceive. Her best friend Andie (Monaghan), single and adrift, gets pregnant from a one-night stand and offers to give Lizzie the baby. Reluctantly, Peter agrees to be the child’s father, and before he knows it Andie has moved into the guest room for the duration of her pregnancy. When Peter also invites his ne’er-do-well recovering-addict brother (Weston) to the house, hilarious chaos ensues, testing the limits of friendship, family and a marriage.

“GUS is a touching story which showcases the power of female friendships featuring strong performances grounded in reality from its two leads, Michelle and Radha,” said Beaumont. “We look forward to presenting this title to our buyers.”

McCormack started her career in theatre, with her first stage play, Spine, having runs in New York and Los Angeles. Her last play, Journey to Dollywood, which featured a voice over from Dolly Parton, enjoyed a successful run in Los Angeles. Prior to GUS, McCormack wrote, directed and starred in the short film, THE ANTAGONIST, which played at various film festivals.

Monaghan first captivated audiences with her breakout roles in KISS KISS BANG BANG opposite Robert Downey Jr. and GONE BABY GONE with Casey Affleck and Morgan Freeman. She has since appeared in many films including J.J. Abrams’ MISSION: IMPOSSIBLE III co-starring Tom Cruise, Duncan Jones’ SOURCE CODE opposite Jake Gyllenhaal, EAGLE EYE with Shia LaBeouf, Sofia Coppola’s SOMEWHERE, and TRUCKER, for which she won the Best Actress award from the San Diego Film Critics. Upcoming she stars in HBO’s “True Detective” opposite Matthew McConaughey and Woody Harrelson, BETTER LIVING THROUGH CHEMISTRY opposite Sam Rockwell and Olivia Wilde and A MANY SPLINTERED THING opposite Chris Evans.

Mitchell currently stars on the ABC series “Red Widow” and was most recently seen in the actioner OLYMPUS HAS FALLEN. Upcoming features include STANDING UP, EVIDENCE, FUGLY, BIRD PEOPLE, THE FROZEN GROUND and BIG SUR. Past film credits include SURROGATES, THE CRAZIES, FINDING NEVERLAND, MAN ON FIRE, PHONE BOOTH, PITCH BLACK and her acclaimed dual performance as both the comic and tragic leads in Woody Allen’s MELINDA AND MELINDA. In 2009, Mitchell co-produced and starred in the, THE WAITING CITY, which premiered at TIFF and screened for the closing gala of the 2010 IFFLA. Mitchell gave a memorable performance in Lisa Cholodenko’s critically acclaimed drama HIGH ART. Her role in Emma-Kate Croghan’s romantic comedy LOVE AND OTHER CATASTROPHES was highly praised at both the Cannes and Sundance Film Festivals. Originally hailing from Australia, Radha currently resides in Southern California.

Weston is most known for his recurring role as detective Lucas Douglas on Fox’s “House,” with Hugh Laurie and Jake in HBO’s critically acclaimed series “Six Feet Under.” In film, his screen credits include the indie hit GARDEN STATE opposite Zach Braff and Natalie Portman, LAST KISS, WEDDING DAZE and STATE OF PLAY. He was last seen in the festival hit BROOKLYN BROTHERS BEAT THE BEST, written/directed by Ryan O’Nan.

In addition to GUS, Lightning’s Cannes slate includes DEAD DROP starring Luke Goss, Cole Hauser and Nestor Carbonell; South African crime-thriller BLACKSOUTH EASTER, both making their market premieres; the acclaimed documentary HOW TO MAKE MONEY SELLING DRUGS; FIVE THIRTEEN starring Danny Trejo and Tom Sizemore; SCORNED starring AnnaLynne McCord and Billy Zane; HEALING directed by Craig Monahan and starring Hugo Weaving; the action thriller FREEZER starring Dylan McDermott and Peter Facinelli and the Australian adventure thriller THE JUNGLE directed by Andrew Traucki.

MAN OF STEEL Soundtrack Featuring Original Music By Hans Zimmer Set For Release June 11th

On June 11, 2013, WaterTower Music will release two configurations of the Man Of Steel: Original Motion Picture Soundtrack. The album will be available in standard form as well as a limited edition deluxe version at all physical and digital retailers. Academy Award®, Grammy, and Golden Globe-winning composer Hans Zimmer composed the music for this highly anticipated project, joining forces for the first time with director Zack Snyder.

“The challenges of creating a Superman score are daunting because Superman is so iconographic,” said Snyder. “I really feel like what Hans created is perfect. Subtle and stirring, epic and commanding. Honestly, Hans crushed it.”

Fans will have the ability to choose between the standard two disc, 18-song soundtrack, and a limited, deluxe edition of the soundtrack. This deluxe edition will be housed in a special embossed steel case, contain 24 score selections, and give fans the ability to access multiple videos showing an exclusive, behind-the-scenes look at the creation of the music. Both the standard and deluxe editions will include the epic track “Man of Steel (Hans Original Sketchbook)” which clocks in at over 28 minutes long. This exclusive track is performed solely by Zimmer, and allows listeners to experience firsthand his initial experiments with the film’s music, which ultimately lay the foundation for the film’s final score.

Those fans who purchase the CD version of the deluxe edition will have the opportunity to download all 24 songs in DTS Headphone: X, which reproduces a cinematic multi-speaker surround sound experience using only the user’s headphones. DTS Headphone:X presents a whole new way to hear mobile entertainment over headphones. The technology garnered rave reviews from the likes of The Wall Street Journal, and Cnet, among others at this year’s CES convention.

Additionally, a double, 180 gram vinyl configuration of the soundtrack is slated for a summer release.

In addition to his orchestral arrangements, Zimmer, no stranger to stepping outside the confines of traditional film scoring, has assembled two unique musical entities to contribute music to Man of Steel. The first, a “drum orchestra,” which was brought together for the album, is described by soundtrack co-producer Peter Asher as “some of the best drummers in the world all playing simultaneously in a space designed for a symphony orchestra – using not only rock drum kits but tympani and field drums as well.”

The membership of this elite assembly consists of many of today’s top musicians including John JR Robinson, Jason Bonham, Josh Freese, Pharrell Williams, Danny Carey, Satnam Ramgotra, Toss Panos, Jim Keltner, Curt Bisquera, Trevor Lawrence Jr., Matt Chamberlain, Ryeland Allison, Bernie Dresel, Vinnie Colaiuta and Sheila E. Their contribution, under Zimmer’s musical direction, creates a towering and powerful musical accompaniment to the film.

Another distinctive group the composer assembled was a gathering of eight of music’s finest pedal steel guitarists who play classical string section parts. This collective, consisting of Chas Smith, Marty Rifkin, Skip Edwards, Boo Bernstein, Peter Frieberger, Rick Schmidt, JD Maness, John McClung, was described by Asher as, “a uniquely new metallic orchestra” added it’s own distinct and soaring musical stamp to the soundtrack.

The Man Of Steel: Original Motion Picture Soundtrack is currently available for preorder at Amazon and will be available for preorder on iTunes starting May 7.

SOUNDTRACK TRACK LISTING

Disc 1 – Flight

1. Look to the Stars
2. Oil Rig
3. Sent here for a Reason
4. DNA
5. Goodbye My Son
6. If You Love These People
7. Krypton’s Last
8. Terraforming
9. Tornado
10. You Die or I Do
11. Launch
12. Ignition
13. I Will Find Him
14. This is Clark Kent
15. I Have So Many Questions
16. Flight
17. What Are You Going to Do When You Are Not Saving the World?

Disc 2 – Experiments from the Fortress of Solitude

1. Man of Steel (Hans’ Original Sketchbook)
2. Are You Listening, Clark? (Deluxe Edition Only)
3. General Zod (Deluxe Edition Only)
4. You Led Us Here (Deluxe Edition Only)
5. This Is Madness! (Deluxe Edition Only)
6. Earth (Deluxe Edition Only)
7. Arcade (Deluxe Edition Only)

Hans Zimmer has scored more than 100 films, which have, combined, grossed over 19.6 billion dollars at the worldwide box office. He has been honored with an Academy Award^®, two Golden Globes^®, three Grammys^®, an American Music Award, and a Tony^® Award. In 2003, ASCAP presented him with the prestigious Henry Mancini award for Lifetime Achievement for his impressive and influential body of work. He also received his Star on the Hollywood Walk of Fame in December 2010. Some of his most recent works include the History Channel’s miniseries The Bible; the Christopher Nolan-directed films Inception, The Dark Knight and The Dark Knight Rises; and Guy Ritchie’s Sherlock Holmes: A Game of Shadows. Upcoming titles include Ron Howard’s Rush, Gore Verbinski’s The Lone Ranger and Steve McQueen’s Twelve Years a Slave.

Zack Snyder directed Man of Steel from a screenplay by David S. Goyer from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Charles Roven, Christopher Nolan, Emma Thomas and Deborah Snyder are the producers, with Thomas Tull, Lloyd Phillips and Jon Peters serving as executive producers. The film stars Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni and Russell Crowe.

Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Zack Snyder Film, Man of Steel. The film will be released in 3D and 2D in select theaters and IMAX®, and is slated for release on June 14, 2013. It will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Lily James Is Disney’s CINDERELLA

Actress Lily James (Downton Abbey) has been cast as CINDERELLA in Disney’s upcoming live-action interpretation of the beloved classic tale.

In addition to TV’s Downton Abbey, James’ previous film credits include 2012’s WRATH OF THE TITANS and FAST GIRLS.

The film is being directed by Sir Kenneth Branagh (THOR) and stars Cate Blanchett (THE HOBBIT) as the iconic evil stepmother.

Stayed tuned for more news on CINDERELLA and her glass slipper in the coming weeks.

Top Ten Tuesday – The Best of the French

The French film industry has always been among the worlds most important……at least to film studies professors. Most French movies are either funded by the French government or made with the support of government-linked media companies. Filmmakers face little market pressure in the creative process. That helps explain why they’re so boring!

STARBUCK opens this weekend so we here at We Are Movie Geeks have decided to post this article about our favorite French films. Okay, so STARBUCK is technically a Canadian film shot in Quebec, but its French language so, in our eyes that makes it French! The Hollywood remake is already in the can. It stars Vince Vaughn. The remake was originally tilted DICKIE DONOR but they’ve changed it to DELIVERY MAN, so you just know they’ve screwed it up bad. This list may not line up with that of your typical French Cinema scholar. There’s nothing on it by Claude Chabrol, or Godard, or Louis Malle, or Jean Renoir. This is a list of French movies that are not only considered classics, but are actually fun to watch.

10. CACHE’

It’s hard to believe that the director of this year’s Best Foreign Film, Amour, also directed the movie Caché (2006). Austrian Michael Haneke is a truly masterful director in that he cannot be confined to a specific genre other than “excellent.” The word caché in French means hidden and applies to many aspects of this unique, mind-bending thriller. Daniel Auteuil plays the popular host of a television book review show; his wife played by Juliette Binoche also works in the literary field as a publisher. Along with their twelve-year old son, Pierrot,they enjoy a comfortable, upper middle-class, bourgeois, Parisian life. One day a videotape arrives at their doorstep. Another day, brings another videotape, and again another. Clearly, someone is watching them, but who and why? Each successive videotape increases the disharmy of their family life. The tapes reveal secrets about each that have been hidden. Caché haunts the audience because it initially shows how something fundamentally benign can unravel us.” (from culturesnob.net) The audience becomes unraveled as well, as Haneke doesn’t end the movie with a clear explanation like Matlock would. When this movie premiered at the Cannes Film Festival, Roger Ebert observed the same disturbed uneasiness among his fellow critics who were frustrated at the film’s intentionally ambigious ending. Caché is a uniquely challenging thriller that has fortunately NOT been remade for American sensiblities. Just as in life, many things are hidden for which there are no clear answers.

9. THE 400 BLOWS

There are perhaps better foreign films: ‘The Bicycle Thieves’ and ‘8 ½’ come to mind. There are even better films by filmmaker Francois Truffuat (Jules et Jim and The Bride Wore Black would be my personal favorites), but the story of Antoine Doinel is one of the most poignant, heartfelt and sincere films ever made, especially by an avowed lover of Hollywood Product. For those that haven’t seen it, the desperate trials and tribulations of a young, 13 year –old French teenager who finds himself in and out of trouble with the authorities, is a film that will affect anyone with a pulse. The movie is supposedly based on the actual tumultuous adolescence of the director. Truffaut also used the character in many other films throughout the years, cinematically exploring the aging process and the conflicts that the character/actor encountered as he moved through life and film. For anyone who likes amazingly powerful motion pictures, this is a film that I sure wouldn’t miss.

8. AMELIE

AMELIE (2001) could easily be regarded as a romantic comedy. It makes the endless succession of Hollywood romantic comedies look dull and ordinary by comparison, but what a curious pedigree! The director, Jean-Pierre Jeunet, gave us bizarre nightmares and post-apocalyptic alienation in DELICATESSEN and CITY OF LOST CHILDREN although it must be said that both of those films include beautiful romantic moments. AMELIE retains some of the surreal elements of the two earlier films, but there is a lightness of spirit about AMELIE that sets it apart and makes it something truly special. Audrey Tautou gives a magnificent performance as the quirky, clever, but intensely shy Amelie. We believe that we truly understand her as she secretly makes changes in the lives of those around her, playing matchmaker for some, bringing unlooked-for happiness, punishing the wicked with impish glee, but when it comes to her own pleasure and happiness, we see her torment and feel her pain as she is unable to make that crucial final step. How the Academy failed to recognise the quality of this performance with a Best Actress nomination is frankly incomprehensible.

7. BREATHLESS

Breathless (A Bout Du Souffle) captured a specific moment, the fledgling optimism emerging in post-war Paris. It is a classic film because it has retained its cutting edge for over fifty years. This abberant legacy perhaps explains why its director at the age of eighty renounced it, according to Richard Brody, author of “Everything is Cinema: The Working Life Of Jean-Luc Godard.” Certainly the most accessible, and consequently successful of Godard’s films, its celebrated cinematic innovations were almost entirely accidental. There was no shooting script; Godard wrote some lines of dialogue the night before or the day they were to be shot. Unsurprisingly, most of the dialogue was improvised on the spot; often Godard shouted lines from behind the camera. He could do that because the film he chose did not record sound. In fact, it wasn’t movie film at all. Godard wanted this movie to look like a documentary (reportage); the cameras were all hand-held and only available light was used. The only film that could reproduce the look he wanted was not made for movies, only for cameras. So Godard spliced the film strips into reels; all the dialogue was re-recorded after the movie was shot. The shooting schedule was unplanned; it depended on Godard’s mood on that particular day. A day’s shooting ranged from fifteen minutes to twelve hours. Breathless was the first movie to use “jump shots,” interrputions in dialogue and picture that were purposely inconsistent and confusing. While many film scholars wax luminous as to their inspiration, the real story is that producer Georges de Beauregard insisted Godard cut thirty minutes from the movie. Godard refused to cut any single scene, so he cut a little bit from each scene, literally going after the celluloid with scissors. It has been said that he was intentionally trying to ruin the movie to spite the producer. Breathless’ greatest appeal lay in its two leads. It launched the career of Jean-Paul Belmondo whose career continues to this day. It provided American actress Jean Seberg redemption from the disastrous receptions of her first two movies (Saint Joan and Bonjour Tristesse) and immortalized her as a fashion icon. She was the first actress to sport the pixie cut (long before Mia Farrow), and she sported formless, unconstrained clothes that evoked the spirit of Gabrielle Chanel, right down to the Breton (sailor) striped boatneck shirts and ballet flats. Sadly, Seberg never enjoyed the long, successful career as her co-star. Godard embraced the acclaim for his accidental innovations and has employed them with less sucess in his subsequent movies. The most enduring legacy of Breathless is Seberg’s legacy as a fashion icon. Her mien in this movie has been an influence in fashion editorals and for designers since the movie’s release.

6. EYES WITHOUT A FACE

Fantasy and horror movies have never been any classic French director’s forte but the haunting 1960 French horror film EYES WITHOUT A FACE manages to be both grotesque and beautiful in its imagery at the same time. It’s strangely poetic considering its plot; a mad doctor removes young girls’ faces in order to restore his daughter’s! People watching this in 1960 must’ve been startled by the bloody face transplant surgery scenes. The film is beautifully shot in the best haunting film noir/expressionistic style and it also delivers massive emotional impact. The haunting score, which sounds much like circus music, is a foreshadowing to the circus of horrors we witness the doctor perform. Furthermore, the gorgeous cinematography (thanks to Eugen Schüfftan) gives the movie a serene and melancholy feel but also gives the movie an eerie and creepy vibe. Black and white is used exceptionally well and complements the look of the film. Of course, Georges Franju should get a huge mention, as his direction is smooth, focused and flawless.

5. BEAUTY AND THE BEAST (1946)

One of the greatest, if not the greatest, fairy tale films was made literally under the noses of the German occupiers of France during World War Two. Made in bits and pieces with very little money by an often exhausted cast and crew this movie is nothing less than a miracle. A Middle Ages French family faces ruin when the Father’s shipping business is destroyed at sea. He rides his horse through haunted woods from the seaport after learning of his business disaster. During a storm he seeks refuge in the castle of The Beast, a man animal like no other, who demands the merchant’s death when he takes one rose from his garden, all that Beauty asked him to bring to her. The merchant’s death or the death of one of his daughters. Belle has two sisters who care for nothing but themselves, a brother who tries to look out for her but is basically useless. Belle, without hesitation and thinking only of her Father willingly goes to the Beast and certain doom. Not to be, this is a fairy tale after all. The Beast’s first words to Beauty is that she is in no danger. The Beast falls in love with Beauty, of course, as do we. The scenes in the Beast’s castle are incredible, the special effects astonish after all these years and are breathtaking in their beauty after the cold, souless use of CGI these past years. Human hands hold the candelabra, human heads are embedded in the walls like statuary,(or are they living statues?) the Beast’s claws smoke after he has made a fresh kill, Beauty glides through the castle as if her feet cannot touch the floor. The black and white cinematography of Henri Alekan glows and sparkles, as few other films do. The Beast is truly magical, his glove, his roses and best of all his magnificent white horse all carry magic. Yet the Beast is lonely and wants to marry Beauty. Jean Marais endured hours of makeup to become the Beast. Taking it off was such a chore that he sometimes slept in the Beast makeup, and would get up and go back to filming to try and get as much footage shot as possible while he had the makeup on. And what a makeup! This is no werewolf, The Beast resembles a big kitty cat, which makes him all the more loveable. In some scenes his ears even lay back like a cat’s. I don’t want to give any spoilers, but I defy anyone to see the last 15 minutes of Beauty and The Beast without crying. Jean Cocteau suffered with a skin disease his entire life and was miserable all through the shooting of this film. France had just suffered through another World War and much of Europe lay in ruins. Out of the ashes Cocteau and his crew worked very real and poetic magic. Beauty and The Beast is not just one of the greatest of Fairy Tale films, it is one of the greatest movies ever made, any where, any time. Criterion did another first rate job with this precious work of art, the special features are extensive and give an accurate history of the making of this film.

4. DIABOLIQUE

DIABOLIQUE is an elegant horror classic directed by French director Henri-Georges Clouzot, and one that is still as terrifying today as it was back when it was released in 1955. The plays like the best film Hitchcock never made – the French equivalent of PSYCHO. In fact, Hitch was inspired by this film to make his film. From the opening sequence with the creepy demonic chanting, you know you are in for a dazzling experience, and indeed, DIABOLIQU keeps you on the edge of your seat throughout. Vera Clouzot gives a stunning performance as the fragile, abused wife of a headmaster, and Simone Signoret is cold as ice in the role of Clouzot’s partner in crime. For their performances and the script alone the film deserves its classic status. The twists serve as a suspenseful build-up to the mind blowing climax, that still ranks among the scariest scenes ever made. Overall, a definite must-see, even if you’re a fan of modern horror, you will certainly be surprised.

3. THE UMBRELLAS OF CHERBOURG

In the late 1940’s and early 1950’s MGM musicals, particularly those from producer Arthur Freed’s unit, dominated the US box office. Well it turns out that they were also pretty popular overseas . So much so that writer/director Jacques Demy created a French homage’ in 1964, THE UMBRELLAS OF CHERBOURG (the middle film in a trilogy he began with LOLA). Unlike its American movie inspirations, this film’s dialogue was sung not spoken similar to an opera (most of the MGM flicks had several big song numbers bookended by spoken word). The music was courtesy of film tunesmith Michel Legrand three years before winning his Best Song Oscar for “The Windmills of Your Mind” from THE THOMAS CROWN AFFAIR. He contributed two songs that would become easy-listenng radio favorites “I Will Wait For You” and “Watch What Happens”. The film’s title refers to the shop where young Genevieve (played by a breathtakingly beautiful Catherine Deneuve) works for her stern mother. Guy (Nino Catlenuvo) is the auto mechanic smitten with her, but military service and forceful parents conspire to keep the two lovers apart. Besides the music, the film also emulates the eye-popping color Technicolor cinematography of those Hollywood classics. For the final film in the trilogy Demy worked again with Deneuve and teamed her with gorgeous older sister Francoise Dorleac for 1967’s THE YOUNG GIRLS OF ROCHEFORT along with WEST SIDE STORY Oscar winner George Chakiris and MGM song and dance superstar Gene Kelly (who would not dance again on-screen until 1976’s THAT’S ENTERTAINMENT II).

2. IRREVERSIBLE

IRREVERSIBLE (2002) is a profoundly unique and disturbing film, a cinematic experience in the truest sense of the word. The cinematography alone is a jarring experience equivalent to a seizure or a “bad trip”, and the subject matter only increases the viewer’s discomfort. Monica Belluci’s fearless performance should be especially commended; her infamous 9-minute rape scene will never be cleansed from the viewer’s mind, and neither will the matter-of-fact murder of her rapist which opens the film, two of the most unflinchingly stomach-churning scenes which have ever been filmed. These are not spoilers, because they are the beginning of the actual film, though the end, chronologically, of the story. And anyway, there is no way to “spoil” this film. It must be seen, but only by those with strong nerves and stronger stomachs, as evidenced by the many walkouts nationwide. The backwards temporal structure of MEMENTO was used to far more powerful effect in IRREVERSIBLE, though fewer people saw it.

1. THE WAGES OF FEAR

One of the greatest suspense movies, a grueling exercise in drawn out anticipation was not made by Alfred Hitchcock. His French counterpart, Henri Georges-Clouzot, director of the incredible Diabolique, has that distinction. Rumor has it that Hitchcock was so impressed with the ending of Diabolique that he tried to better that ending for the rest of his career. Wages of Fear is an even more impressive rendering of everything Hitchcock based his career on. The Hitchcock style was to work set pieces of suspense into the narrative. There was always humor in a Hitchcock film to lighten the tension for the viewing audience. Not with Clouzot. Wages of Fear is set in a South American shit hole of a town. Sort of living there is a motley group of European expatriates, French, Spanish, English, German. The town is owned and operated by an American oil company which led to the film being censored in America. In the restored version are many comments about multinational corporations and their pursuit of profits at the cost of lives. To the North oil well fires are burning, 4 men are hired to drive heavy duty trucks over 300 miles of primitive roads, mountain passes, rotted out bridges, all while carrying full loads of nitro glycerine, highly volitile and likely to blow up at any point if jostled too much. Clouzot takes his time with the setup, introducing us to the characters and their world weary cynicism. Once the two trucks get rolling it is edge of your seat tension until the final credits roll. Especially impressive are all four of the drivers, all of them need the money badly but are honest enough to admit this may be their last job. The stunt work and on location filming are incredible. This is down and dirty film making, all the actors look exhausted in the heat and dirt. Incredibly this is one classic film that had an excellent remake. William Friedkin’s Sorceror bombed at the box office but is in some ways even better that Clouzot’s. In addition to a worthy, authorized remake the basic set up of moving nitro over difficult roads was used in dozens of movies and television shows. I recall an excellent episode of Bonanza that used the concept. But for real thrills, accept no substitutes. If anything Wages of Fear is more relevant today than ever before. Worker safety takes a back seat to profits all over the world and petroleum remains one of the biggest issues facing humanity today, namely that we are running out of it and the continued use of it is apparently heating up the planet. But that is another story. Criterion’s dvd is excellent and has a second disc for all the extra features.

GENERATION UM… is on VOD April 26th and opens theatrically in Los Angeles and New York on May 3

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GENERATION UM… is on VOD April 26^th and opens theatrically in Los Angeles and New York on May 3