Austin360 blogs > Austin Movie Blog
‘The Paperboy’ in Cannes: Early impressions
(Associated Press)U.S. director Lee Daniels, who was widely hailed for “Precious,” solidifies his reputation with “The Paperboy,” which premiered Thursday morning in Cannes.
It’s an old-fashioned noir, where nothing is as it first seems, and Daniels masterfully withholds information and then teases the audience to follow him to the truth.
This is especially true for the character of Ward (Matthew McConaughey), an investigative reporter who returns to his Florida hometown to uncover evidence that will free a convict named Hillary (John Cusack) on death row for the murder of a sheriff.
It’s a breakthrough performance for McConaughey, who isn’t accustomed to starring in art films that play in Cannes. But he holds his own against a powerful cast, including a stunning Nicole Kidman and a highly eroticized Zac Efron.
As Ward, McConaughey is Efron’s older brother. And Efron’s character Jack seems like he has never grown up. He lounges around the house in his undershorts, and he doesn’t even bother to cover up when the housekeeper (Macy Gray) comes into his bedroom to straighten up.
Efron also has multiple shirtless scenes as he swims in a pool, swims in the ocean and just walks around the house. All of this disrobing caused the moderator of a press conference panel to raise the question of whether Efron was being eroticized.
Efron tried to sidetrack the question by saying he was honored to be in the film, but he was interrupted by Daniels, who exclaimed: “He’s good-looking! The camera can’t help but love him. And I’m gay, so what do you expect?”
Daniels, however, knows the heterosexual ropes as well. Nicole Kidman plays Charlotte, a woman who writes to men on death row and becomes convinced that Cusack’s Hillary is innocent. In fact, she has become romantically involved with Hillary through highly sexual letter exchanges. So she’s the one behind the efforts to get Ward to uncover the truth about the case.
In one scene, Charlotte accompanies Ward and Jack to the prison, where she meets Hillary for the first time. And let’s just say there’s a “Basic Instinct” moment that tops the Sharon Stone stunt.
A key part of the plot, however, deals with Efron’s Jack falling for Charlotte as well. It might seem odd, since Jack comes from a respectably family and Charlotte seems like she has been around the block one time too many. But the attraction is there, and Daniels plays with these hormonal instincts all the way through “The Paperboy.”
As Charlotte, Kidman comes off perfectly and almost steals the movie. She said Thursday afternoon that she came up with her own look after being told by Daniels that the production didn’t have enough money for hair stylists and wardrobe assistants. Who knew that Kidman, the ultimate glamour queen, could get so down and dirty?
Permalink | Comments (0) | Post your comment Categories: Cannes
‘Post Tenabras Lux’ explained, sort of
Mexican director Carlos Reygadas declined Thursday to summarize his new impressionistic film “Post Tenabras Lux” during a Cannes press conference.
“I’m sure lots of the press won’t like my film,” he said, “but it’s not my purpose to please as many people as possible.”
Instead, he said, “I try to share what I feel, think and imagine.”
If that’s the case, then Reygadas has lots of anxiety, coupled with a contradictory view of nature’s awe.
He begins the film with a scene that’s both joyful and fearful. A young girl, perhaps 2 or 3 years old, wanders a pasture that’s set against a Mexican mountain range. She looks beautiful, as does the setting, but something ominous is going on. Clouds are forming and she is heading into a herd of cattle as various herding dogs chase the cattle to a nearly holding area. She mutters “cow” and “dog,” as if these were her first words, and it’s clear that she’s oblivious to the danger.
The scene is shot on 35 millimeter film, with a lens that distorts the edges of the frame, so that the girl’s figure can double when she’s on the edges of the film. The framing also brings a more vertical look that helps emphasize the towering mountains and her small stature.
All of this is part of Reygadas’ art, and while he declines to explain his non-linear narrative, it becomes clear that the director is sharing emotions and feelings from the present and the past.
Some of those emotions reflect anxieties about the beauty of Mexico’s landscape and the haphazard rape of the environment. In one section, for instance, a man with a chainsaw wanders through the forest and starts cutting at trees. He’s not harvesting them for lumber. He’s just harming them to the point that they’ll eventually die and crash in the forest.
In another key scene, a red devil appears at a home and carries a toolbox as he searches various rooms and a young boy watches. Again, Reygadas’ anxieties come to the fore. And in this case, he said, he was remembering his childhood when he would have nightmares about the devil being in the house. As it turns out, the two scenes featuring the devil were shot in Reygadas’ childhood home, and the toolbox that the devil carries was actually that of his father.
Reygadas also declined to discuss a rather startling scene at a steam bath where a husband watches as his wife engages in sex with other men. Reygadas merely said that he had heard of such places, but once again, it’s hard not to think about the director’s possible sexual anxieties or feelings of inadequacy — a conclusion he might dispute.
The dreamlike approach of the film comes to a climax in a later scene where a man literally loses his head. Reygadas told reporters that this is a common image in Mexico, which is what he called the beheading capital of the world. And once again, it’s hard not to draw paralllels between the character and the current political situation in Mexico.
There’s also a segment discussing Russian literature. And by the end of the film, one of the main characters is speaking words that allude to a key character in Tolstoy’s “War and Peace.”
If all of this sounds like — pardon the pun — heady stuff, well, it is. “The film comes from my subconscious, and I never felt like I had to make it rational,” he said.
Reygadas faced repeated questions about the film’s marketability and the possibility of ever finding an audience. But the director didn’t feel the need to explain anything to critics in Cannes. “Arthouse films are like literature. You don’t go to a literary conference to talk about trashy books,” he said. “It’s the same for films (in Cannes).”
That’s probably why Reygadas’ new movie is so interesting to some and so off-putting to others.
Permalink | Comments (0) | Post your comment Categories: Cannes
‘Post Tenabras Lux’ in Cannes
Carlos Reygadas premiered the most challenging film of the Cannes Film Festival on Wednesday night. And it was not well-received, at least at the press screening. Hoots and boos greeted its ending. And people laughed when they should have been appalled.
That’s not necessarily a knock about the new movie from the Mexican director, “Post Tenabras Lux.” The title is actually Latin, and translates roughly as After the Darkness, Light. But there isn’t much light in the new Reygadas film.
The movie has parallel stories, one dealing with an upscale family in the city and another dealing with an upscale family in the countryside. Neither family is doing well, at least spiritually.
Reygadas establishes a beautifully ominous tone during the opening, where a small girl wanders through a pasture as a storm approaches, and as dogs round up cattle as the evening nears. You can’t help but fear for the child’s safety, and storm clouds lurk throughout the film.
To make matters worse, Reygadas introduces a luminous red devil carrying a toolbox. And it’s clear that we’re entering allegorical territory.
Any snap judgments about the new Reygadas film seem unwarranted, and the booing on Wednesday night was out of bounds. But the movie is unquestionably challenging. One scene in particular causes lots of moral consternation. It involves a married couple entering a steamy sex club with various rooms where various sexual acts occur. A man’s wife lies down in one such room and submits to various sexual acts, while a woman says she has a body that’s built for such things. It’s hard not to see this as a metaphor for the exploitation of Mexico.
Similar situations occur in various disjointed scenes that follow, and it’ll be interesting to hear whether Reygadas chooses to answer questions about his film at the press conference on Thursday. But one thing is clear: He at least has stirred up a lot of debate among the press.
Permalink | Comments (0) | Post your comment Categories: Cannes
Matthew McConaughey to play John F. Kennedy in new film from director of ‘Precious’
“Err, uh, awright, awright, awright …” Matthew McConaughey will portray John F. Kennedy in “Precious” director Lee Daniels’ upcoming film, “The Butler,” according to IndieWire. “Friday Night Lights” goddess Minka Kelly will play Jacqueline Kennedy in the movie about Eugen Allen, the White House butler from 1952 to 1986.
The film is based on a Washington Post article by Wil Haygood. Forest Whitaker will play Allen and Oprah Winfrey will play Allen’s wife. Other actors tied to the picture include Nicole Kidman, Lenny Kravitz, Terrence Howard and Cuba Gooding Jr.
“I connected with it because it is ultimately a father-son story with a civil rights backdrop,” Daniels told ScreenDaily. “In my lifetime there were separate water fountains, pools and toilets for blacks. People forget that. This is such an exciting journey for me.”
IndieWire says production is set to start on July 16th.
Permalink | Comments (0) | Post your comment Categories: News
‘The Angels’ Share’ in Cannes
Of all the films in Cannes, “The Angels’ Share” has a good chance to break out as a possible arthouse hit in the United States, just like “The Sapphires,” which screened earlier this week out of competition.
“The Angels’ Share” is in the competition and is directed by British auteur Ken Loach, who has a long history of appearing in Cannes and focusing on Britain’s working class. This time, he’s dealing with a group of criminals who have to go to rehab and do community service for their transgressions.
Newcomer Paul Brannigan stars as Robbie, a “wee man” with a big temper who has fathered a child out of wedlock and desperately wants to turn his life around. But his tendency to violent outbursts threatens to send him to prison. It’s not all his fault. It turns out that his father had a blood feud with some local guys, and their sons are continuing the feud by continually attacking Robbie. In short, he’s a young man who seems to be trapped.
But he finds a friend in the leader of his community service group, Harry (John Henshaw). He sees Robbie’s potential and wants to give him a chance to go straight.
It won’t be easy, but “The Angels’ Share” has a promising premise: Robbie needs to pull off a caper (directed at the upper class, of course), in order to reunite with his girlfriend and be a good father.
The title refers to the brewing of Scotch whiskey. When brewing, some of the whiskey escapes, and that’s referred to as the angels’ share. And the caper that Robbie needs to pull off involves stealing a bit of rare Scotch that’s discovered in a warehouse and is to be auctioned for about $1 million. Robbie’s partners in crime are a crazy bunch, and that’s the source of most of the humor.
It’s rare to see Loach be this comical. He usually has a very serious tone in his movies. But this one is reminiscent of “Looking for Eric,” and even funnier. There are lots of sight gags, and there are lots of inside jokes that play out through the course of the movie.
The audience in Cannes was quite receptive and gave the movie loud cheers — a rare occurrence at the usually jaded festival. But it’s unlikely that such lighthearted fare will contend for the Palme d’Or. That’s traditionally reserved for movies with moral or philosophical heft. “The Angels’ Share” is just a lot of fun.
Permalink | Comments (0) | Post your comment Categories: Cannes
‘Post Tenebras Lux’ in Cannes
I’m a big fan of Carlos Reygadas, the Mexican director whose films include “Japan” (2002), “Battle in Heaven” (2005) and the beautiful “Silent Night” (2007). But I haven’t written about his most recent film, “Post Tenebras Lux,” mainly because there’s little information about the competition title that premieres tonight in Cannes.
The official summary is vague: “Juan and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And nobody knows if these two worlds are complementary of if they strive to eliminate one another.”
Like many of Reygadas’ movies, “Post Tenebras Lux” appears to be visually impressionistic, without a definitive narrative.
The press notes provide little more information than the official summary, but feature scenes of people in steam baths as well as a soccer match and countryside tableaus. I’ll try to post something about the film as soon as I see it. Reygadas is certainly someone who deserves attention. Stay tuned.
Permalink | Comments (0) | Post your comment Categories: Cannes
‘Holy Motors’ at Cannes
Leos Carax is considered to be one of France’s most promising young directors. And his latest film, “Holy Motors,” premiered at the Cannes Film Festival Tuesday night in competition for the Palme d’Or.
It’s possible that it could win, but the only conceivable way that it could take the top prize is that most of the jury is familiar with Carax’s past movies as well as being incredibly cognizant of past French experiemental films.
Carax is best known for 1991’s “Lovers on the Bridge,” which was justifiably hailed as the work of new star in French cinema. And it’s likely that French intellectuals will see “Holy Motors” as its equal. But it’s hard to see it playing to wide audiences in the United States.
Denis Lavant stars as Monsieur Oscar, an unusual fellow who seems to be living various lives every day, without any clear explanation of why he’s doing so. At times, he plays a banker. At other times, he’s a beggar woman, a motion capture specialist, an assassin, an accordionist, a dying man or the father of an unusual family.
In reality, he’s no one. He’s just hired to play parts, and he’s driven around Paris in a limousine by his faithful companion Celine (Edith Scob).
“Holy Motors” is an allegory about the roles people play, about acting, about moviemaking, and about French cinema. Some of the set pieces are startling, and some are moving. But all feature Lavant as a character who’s sometimes appalling, disgusting and deadly. One of the strangest scenes involves Levant transforming himself into a troll and kidnapping a model (Eva Mendes). He then takes her into the Paris sewers, where he strips and displays his sexual arousal, then puts his head in her lap.
At this point, viewers may become a bit baffled about where the movie is heading. But that’s part of Carax’s point. He’s playing with the audience, playing with our reactions and trying to shock us out of our usual passive acceptance of watching a film. He wants to engage the mind and make us wonder.
Lavant is fairly astonishing as Monsieur Oscar. We get to see his physical transformations into various characters as he sits in the back of the limousine and applies makeup and costumes.
But it seems unlikely that such an experimental film would win the Palme d’Or. Lavant, however, has a shot at best actor if the jury decides to be a bit avant garde.
Permalink | Comments (0) | Post your comment Categories: Cannes
‘Antiviral’ in Cannes
The apple doesn’t fall far from the tree when it comes to the Cronenbergs.
Brandon Cronenberg, son of Canadian director David Cronenberg, premiered his first movie, “Antiviral,” in Un Certain Regard, and it’s just as weird as some of his father’s early movies, such as “Scanners,” “Videodrome” and “Dead Ringers.”
“Antiviral” deals with a celebrity-obsessed culture where the general public pays big bucks to have the same illnesses as their favorite stars. For example, if Angelina Jolie gets the flu, everyone who loves her will want to have the exact same flu in order to mimic her life. Sounds sick? Yep, it is. As I said, this is a Cronenberg film.
The key character in “Antiviral” works at a company that stores and sells various viruses that have infected the top stars. His name is Syd March, a sickly looking freckled fellow with red hair. And he’s played by Caleb Landry Jones, an odd-looking duck who grew up in the Dallas suburb of Garland but now lives in Los Angeles.
He’s dutifully creepy as the guy who injects himself with various viruses, then smuggles them out of his company to sell to a shady dealer in the black market. But when he injects himself with a particularly nasty and unexpected viral strain, his body becomes a commodity, with various ne’er-do-wells seeking to kidnap him in order to extract his unusual virus and make a profit.
“Antiviral” probably sets a record for close-up scenes of hypodermic needles piercing the skin. And that’s just the start of the gross occurrences.
The closing scene is one of the most creepy in memory. And it looks like this could be a title for Austin’s Fantastic Fest. But it’s hard to believe that “Antiviral” will be a mainstream success. it’s weird and gross. And there’s never any credible explanation as to why someone would want to become sick in order to copy a star. Supposedly, it’s a sign of obsession, but it’s hard to believe that anyone would willingly put his or her life at risk in order to mimic a star’s health. That might be the case in the future, but it’s still hard to fathom such a pathological culture.
Permalink | Comments (0) | Post your comment Categories: Cannes
A look at ‘After Lucia’ in Cannes
Michel Franco is one of the young, up-and-coming filmmakers of Mexico, and his new movie, “After Lucia,” should solidify his reputation. It premiered in the Cannes Film Festival’s Un Certain Regard section, a selection that typically acknowledges filmmakers with promise.
“After Lucia” refers to the death of a wife and mother — a death that haunts the husband and makes the daughter feel protective of her disconsolate father. And that’s the source of the teenager girl’s downfall. She doesn’t want to tell her father that she is being bullied at school because he’s still suffering from his loss, and this leads to a spiraling problem that ends in tragedy.
Tessa Ia stars as Alejandra, who makes a disastrous mistake by getting drunk at a party and having sex with a classmate, who films the encounter on his phone and then posts it online. The posting leads to ostracism, and eventually, humiliation for Alejandra. But Franco takes us through the story in a way that makes us understand Alejandra’s reluctance to tell adults about what’s going on at school.
She’s taunted, harassed by boys and forced to eat a file confection on her birthday. She’s also sexually assaulted and humiliated to the point where she simply shuts down. It’s a harrowing tale of bullying.
But when she swims away into the ocean during a school outing, the details of her humiliation finally surface and lead her father (Hernan Mendoza) to take drastic action.
During the screening in Cannes, many of Mexico’s leading figures in film turned out. Gael Garcia Bernal, whose “No” was snapped up for distribution after its premiere in Directors Fortnight, was among the crowd.
American audiences will hopefully be able to see the movie. It’s one a recent spate of movies about bullying, but this one has all the artistic merits that you’d expect from a Cannes entry. It’s not in the running for the Palme d’Or, but should be a strong contender in the Un Certain Regard sidebar.
Permalink | Comments (0) | Post your comment Categories: Cannes
New Richard Linklater-produced show coming to Hulu this summer
“Bernie” director Richard Linklater will bring his original travel series, “Up to Speed” to Hulu.com this summer. Linklater’s program stars tour guide, historian Speed Levitch (star of Bennett Miller’s documentary, “The Cruise”), who visits “monumentally-ignored monuments of America’s cities, from the shoe gardens of San Francisco to the luckiest subway grate in New York City.”
“Speed Levitch is one of the most effusive, articulate people I know, and one of America’s funniest freethinkers,” Linklater said. “Hulu has a highly engaged and intellectually curious audience, and I’m excited to give them a glimpse of Speed’s unique and idiosyncratic worldview as we take the concept of a travel show and turn it on its head.”
“Up to Speed” premieres on Hulu and Hulu Plus in August. For more information, visit www.hulu.com/hulu-summer-series.
Permalink | Comments (1) | Post your comment Categories: News
Early Palme d’Or contenders at Cannes
It’s almost halftime at the Cannes Film Festival competition, and several contenders have already emerged for the top prize, the Palme d’Or.
The leader at this point is Austrian director Michael Haneke’s “Amour,” which has been picked up by Sony Pictures Classics for distribution in the United States.
Haneke is a regular in Cannes, having won the Palme d’Or in 2009 for “The White Ribbon,” a dark tale of cultural life in Germany in the early 20th century. “Amour” focuses on a similarly grim situation, Georges and Anne, who are in their 80s and are retired music teachers. The two are still very much in love, but their bonds are tested when Anne has an attack.
Haneke deftly explores the sad situation through wonderful characterizations. And his two lead actors, Jean-Louis Trintignant and Emmanuelle Riva, are outstanding.
Director Thomas Vinterberg’s “The Hunt” has also been getting glowing reviews. Mads Mikkelsen plays Lucas, a 40-year-old school teacher who is recently divorced and has a teenage son. He’s loved by his neighbors and schoolchildren and appears to be well on the way to rebuilding his life. But then a little girl down the streets sees her brother’s pornography and tells one of her teachers that Lucas has a similar anatomy. The made-up story is passed from teacher to parents, and before long, Lucas has been arrested for child molestation and faces a hostile community.
Vinterberg, who’s from Denmark, is considered one of the rising stars in European cinema, having made “It’s All About Love,” “The Celebration” and “Submarino.” He gets an excellent performance from Mikkelsen, who’s one of the Denmark’s biggest stars but is probably best known in the States for playing the villain in the 2006 Bond film “Casino Royale.”
The other big contender for the Palme, at least from a critical standpoint, is Cristian Mungiu’s “Beyond the Hills.” It’s the kind of movie that gets at least one award in Cannes but will play to very small audiences in the United States. The Romanian director is well-known for his artistic compositions and settings, but he’s also equally known for his slow pacing. And that’s part of the reason that “Beyond the Hills” is unlikely to be an arthouse hit in America.
“Beyond the Hills” centers on two young women, Alina (Cristina Flutur), a Romanian who returns home after living in Germany, and Voichita (Cosmina Stratan), who was Alina’s best friend in an orphanage but has joined a monastery and has become very religious.
Mungiu hints that Alina and Voichita might have been lovers at an earlier age, but Voichita makes it clear to Alina that the relationship will not resume. And this sends Alina into a spiraling psychological descent that eventually leads to elders of the monastery to perform an exorcism. Mungiu tries to keep an even hand while telling the story, which is based on an actual incident. But such, even-handedness tends to diminish the drama.
Still, international critics have been celebrating the latest from Mungiu, who won the Palme d’Or in 2007 for “4 Months, 3 Weeks and 2 Days.”
Director John Hillcoat’s “Lawless” has a much better shot at playing well in the United States. Adapted from Matt Bondurant’s “The Wettest County in the World” by screenwriter and musician Nick Cave, the movie deals with a seemingly invincible band of brothers in Prohibition-era Virginia. They’re led by the strong-willed Forrest Bondurant (the excellent Tom Hardy). Brother Howard (Jason Clarke) plays the tough family enforcer. And Shia LaBeouf, who tends to star in American blockbusters, actually shows some acting talent as the youngest brother Jack, who has no stomach for violence.
Interwoven in the tale are two romances: one between Forrest and Maggie (Jessica Chastain), who starts working for the brothers after having fled a troubled past in Chicago, and the other between Jack and a rebellious daughter of a preacher, Bertha (Mia Wasikowska). The story line follows a familiar path: A crooked politician hires a maniacal city slicker named Charlie Rakes (Guy Pearce) to demand that the brothers give them a part of their profits in order to ensure smooth operations in the future. The Bondurants, of course, refuse.
As Rakes, Pearce wobbles between being mesmerizing and possibly overacting. He has one of the strangest haircuts ever, and he’s so sneering that he could easily be a stand-in for Snidely Whiplash. Critics have been divided over his performance, but it’s definitely memorable. Hardy and Chastain, however, are pitch-perfect.
Unlike most previous years, there haven’t been any total bombs in the main competition — at least not yet. But one of the most divisive has been Austrian director Ulrich Seidl’s “Paradise: Love.” Here’s the premise, which will make you understand why some critics have objected: Aging, often-overweight European women travel to Kenya, where they hope to pay some young African men for romance and sex. It’s a peculiar take on the sex trade, and it’s rather clear that there are two sides to the exploitation: the African men are being exploited, of course, but the women mistakenly believe they can buy love and end up disappointed as well.
Seidl uses a lot of humor in the movie, but the repetitive sex talk and the full-frontal nudity becomes old rather quickly. If it’s released in the U.S., it would probably get an NC-17 rating, thus limiting its audience. The other route would be for it to be released as unrated. But in either case, “Paridise: Love” doesn’t look to make much of an impact in the States.
Another Cannes favorite, Iranian director Abbas Kiarostami, directs a quirky Japanese tale dealing with the sex trade in “Like Someone in Love.” Critics have been calling it Kiarostami light — indicating that it’s one of his lesser works and below such acclaimed films as “Taste of Cherry” and “Certified Copy.”
It focuses on a retired Japanese professor who arranges for a young woman to come to his apartment. But the professor has a set routine, as well as a meticulous plan of seduction, and it’s all turned upside down with the arrival of the woman, who doesn’t play by his rules. And then there’s her psycho boyfriend who suspects that she’s cheating on him.
Kiarostami takes an almost deadpan approach to the humor, and the plot moves at a deliberately slow pace.
Still to come are a slew of movies with strong American interest: “Killing Them Softly,” starring Brad Pitt and directed by Andrew Dominick; “On the Road” by Walter Salles; “The Paperboy,” starring Matthew McConaughey and directed by Lee Daniels; “Cosmopolis,” starring Robert Pattinson and directed by David Cronenberg; and “Mud,” directed by Austin’s Jeff Nichols.
Permalink | Comments (0) | Post your comment Categories: Cannes
‘The Sapphires’ at Cannes
It’s a sad fact of life that many of the movies that play each year in Cannes never make it to the United States — or at least anywhere beyond New York and Los Angeles.
But one little movie from Australia will definitely arrive across the U.S. It’s called “The Sapphires,” and it’s one of those inspiring musical stories about a group of young women who overcome racial hostility and make a name for themselves through sheer talent.
Based on a true story, “The Sapphires” takes place in 1968 on a remote mission for Aborigines. When three of the sisters travel to a nearby town to participate in a singing contest, they meet Dave, a sad-sack musician who has been reduced to touring the hinterlands and being the emcee for a singing contest full of questionable talent.
Chris O’Dowd, the charming, pastry-loving policeman in “Bridesmaids,” plays Dave, an Irishman who loves soul music. And under his sometimes-drunken management, he manages to land a gig for The Sapphires in Vietnam, as the war is raging.
Deborah Mallman plays Gail, the oldest sister and what Dave considers to be the “mama bear” of the group. The most talented singer, however, is the youngest of three sisters, Julie, played by Jessica Mauboy, who’s well known in Australian music circles.
The middle sister, Cynthia (Miranda Tapsell), has a bit of a wild streak and loves the men — and they love her.
Then there’s Kay (Shari Sebbens), a light-skinned Aboriginal who’s a cousin to the three sisters and who was taken away from her family by misguided government authorities and raised as a white girl by foster parents. Gail resents Kay tremendously, in part because Kay once visited the family and criticized their so-called backward ways of fishing and living off the land.
All four take off to Vietnam with Dave and faced all sorts of ups and downs, but the biggest shock comes when they have to perform for U.S. troops shortly after the assassination of Martin Luther King Jr.
Wayne Blair directs the movie, which is based on a stage play by Tony Briggs. The script has a few moments that are too pat and predictable. But it’s a crowd-pleaser, with O’Dowd in a crucial, rascally, lovable role. The Weinstein Co. is handling distribution in the U.S., which means it has a shot of opening in all the major cities.
Permalink | Comments (0) | Post your comment Categories: Cannes
Latest comments
Looking forward to the episode where they discover that the San Francisco shoe garden is no longer there.
... read the full comment by Chris | Comment on New Richard Linklater-produced show coming to Hulu this summer Read New Richard Linklater-produced show coming to Hulu this summer
I find it VERY FN SAD the Mistakes Man will allow comment on worthless articles, yet on important articles that effect the lives of AMERICANS every day there is no input allowed from the EDITORS.
All we get is the EDITORIAL SLANT from a major LIBERAL
... read the full comment by Atlas Shrugged | Comment on Anderson's 'Moonrise Kingdom' kicks off Cannes Read Anderson's 'Moonrise Kingdom' kicks off Cannes
See more recent comments