Category: Actresses (Page 90 of 258)

A chat with Joshua Leonard of “Humpday”

Joshua LeonardWhen you’re dealing with the press, what topic could possibly overshadow your new, Indie Spirit award-nominated and generally very well received comedy about two more or less ordinary straight dudes who decide to make a porno of themselves having sex…with each other? Well, “Humpday” star Joshua Leonard has had to deal with one of those “be careful what you wish you” show business situations in that the second film he was in about ten years back was an enormously profitable, zero-budget worldwide hit and horror pop-culture phenomenon – one that happens to be referenced in nearly every review of a certain recent zero-budget DIY horror hit.

Still, as one of the three actors/cum camera people/cum screenwriters who endured a deliberately scary and uncomfortable shoot in “The Blair Witch Project,” Leonard has leveraged his decade old flavor-of-the-month status into a solid career as a working actor with scores of credits ranging from the HBO movie “Live from Baghdad” to recent episodes of the new TV series, “Hung,” also on HBO. He’s also become a director. “Beautiful Losers,” a documentary he co-directed, is just hitting home video after a run on the festival circuit, and he recently completed shooting his dramatic feature debut as a writer-director, “The Lie.”

Still, he’s clearly very proud of his involvement in writer-director Lynn Shelton’s “Humpday” alongside costar and previously interviewed fellow film-maker Mark Duplass – now a very close real-life buddy — and happy to have contributed to a new tightly-plotted but improvised movie where there was absolutely no attempt made to convince the world he was dead. His portrayal of Andrew – puppyish Peter Pan, would-be artiste and compulsive traveler/bohemian – remains the extremely funny heart of the film. He’s also, I was happy to find, a really fun guy to talk to. He’s obviously a lot more smarter and 10,000 times more mature than his movie alter-ego, but he’s every bit as easy to hang out with – even on a twenty-minute phone call set up by a publicist.

PH: I don’t always say this, but I really did like “Humpday.” I thought you guys were great.

JL: Thanks, man. What have you hated recently?

PH: [Laughs] I’m a critic, we could blow out entire time talking about that.

JL: [Laughs] That’s what I want to know.

PH: Fortunately, nothing of yours. Okay, so I’m going to ask everyone I talk to on the movie this question….

Just before I saw the movie at the L.A. Film Festival, I had reviewed the DVD for “The Odd Couple.” It was kind of interesting because it was sort of two of the poles of the male bonding thing and of course the whole idea of “bromance” has been  out now. I was just wondering how you thought “Humpday” fit in with all these movies that have been out there on this general topic.

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A chat with Mark Duplass of “Humpday”

Mark DuplassMark Duplass, along with Joshua Leonard (“The Blair Witch Project”), is one of the two stars of one of the funniest and just plain nicest movies I’ve seen in awhile. If you haven’t yet read my review, writer-director Lynn Shelton’s Indie Spirit award-nominated “Humpday” is a really funny comedy about two completely heterosexual best friends who become possessed by the idea of making an art-porno in which the two of them take their bromance to its highly illogical extreme.

Duplass may be best known as one half of the film-making Duplass Brothers, who had a big indie/festival hit with “The Puffy Chair,” one of the most acclaimed films in the so-called “mumblecore” movement — improvised, usually comic, films in which no one actually mumbles much but in which the dialogue is largely improvised. While the “mumblecore” tag has become more than a little dated, the Brothers D are currently completing their first movie with big-name stars (specifically, Jonah Hill, Marisa Tomei, and John C. Reilly), which was without a title when this interview was conducted but we’ve just learned via Anne Thompson is going to be named “Cyrus.”

“Humpday” technically could be considered mumblecore because, while it was for the most part tightly plotted, the dialogue was improvised. It’s a technique Duplass was clearly comfortable with as he has acted in the films he has been making with his brother, Jay Duplass, for over a decade, as well as in such other ‘core hits as “Hannah Takes the Stairs.” We caught up with Mark via phone a bit early in the day (my time), one recent Friday morning…

PH: Just before I saw “Humpday,” I reviewed the DVD of “The Odd Couple.” I was just thinking, now that you’ve had time to think about the movie and everything, and we have this recently coined word “bromance,” which this movie obviously deals with – how do you think “Humpday” fits in with all these other movies that have been out there?

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NBC continues the dumbing-down of America in earnest with…”A Very Gilly Christmas”

First, David Medsker sent a public memo to “Saturday Night Live,” pleading with them to stop Kristen Wiig from playing the most annoying characters imaginable, and although the show’s producers ignored him, the posting has received 76 comments to date, many of them completely behind Mr. Medsker’s position, so it clearly struck a nerve with readers. Then, two months later, John Paulsen got specific and called out Wiig’s then-new character, Gilly, as the unfunniest returning character ever. No word from the Wiig camp yet, but 65 readers have responded to it thus far, and while many of them are in full-on defense mode, it takes no more than a cursory glance at the comments to see that Mr. Paulsen is onto something with his premise.

* “Gilly should be put in juvenile detention.”
* “OMG, I want to break the TV when I see that stupid skit!”
* “Gilly keeps coming back for more and more and more and more and more. And it gets worse every time.”
* “The Gilly skits – and indeed, pretty much all the characters that Wiig does – are appealing to those lowbrow people who find catch-phrases funny.”
* “I know ‘to each his own’ and everybody’s taste is different, but I’m shocked that people are defending this really, really bad, really, really unfunny recurring character.”

And, of course, there’s my personal favorite:

“Like a fool, I kept watching, hoping the sketch could redeem itself somehow, that a punchline or a line delivery would come in making it somewhat funny. I mean, this is a comedy show, right? Right? But, alas, it was just painful. I have no idea what the audience was laughing at or why. Maybe SNL installed a live laugh track, or maybe they do pump in laughing gas. But what I saw no one could honestly find funny. NO ONE. Stock footage of starving children has equal comedic value as the Gilly sketch.”

To these discerning individuals, NBC is offering up the comedic equivalent of a lump of coal in their stocking on December 17th from 8 – 10 PM EST, when “Saturday Night Live” presents…wait for it…“A Very Gilly Christmas”!

The good news is that the two-hour special will include brand-new material with Alec Baldwin and Steve Martin, along with favorite holiday-themed sketches from the 35-year history of “SNL,” including “NPR’s Delicious Dish and the Schweddy Balls,” Martin’ famous “Holiday Wish,” and Justin Timberlake and Andy Samberg’s “D**k in a Box.”

The bad news: it will also include new Gilly material.

“Princess and the Frog” leaps as expected; “Invictus” is a bit short of the goal line

The Princess and the FrogIf you compare tonight’s post to what I said on Thursday, you’ll see there were no gigantic surprises this week. Disney’s return to traditional cell animation with “”The Princess and the Frog” performed pretty much completely in line with expectations and earned a very nice, though not gigantic, $25 million over its opening weekend. So says ever jolly Carl DiOrio and also the handy dandy Box Office Mojo chart.

Clint Eastwood‘s “Invictus,” on  the other hand, came in third behind the $15.4 million performance of the mega-sleeper “The Blind Side,” to earn a slightly short-of-the-mark $9.1 million. It’s worth noting that the politically-tinged Eastwood film was in a smaller number of theaters and had a very respectable average of $4,275 per screen. That is just a wee bit short of the more commercially successful Sandra Bullock vehicle, which is also a racially themed, fact-based, inspirational sports tale.

Otherwise, recent releases held on in more or less typical ways and there really wasn’t anything too exciting happening. In particular, there where no big break-outs among limited release films. The latest new entry into the late-year Oscar sweepstakes, the festival hit, “A Single Man,” did fine on its opening week in nine theaters earning $216,000, but the directorial debut of clothes designer Tom Ford, based on a book by Christopher Isherwood, will probably need some bigger awards buzz than its currently getting if it’s going to break out of the arthouse ghetto even a little bit.

The Lovely Bones,” however, managed the week’s biggest per-screen average of $38,000. However, that was only at three theaters. Considering the film’s very disappointing critical performance and its dark subject matter, its commercial prospects still seem even dimmer than it’s awards prospects. Indeed, it looks to be eclipsed in every way by the violent little sci-fi flick film co-writer-director Peter Jackson produced earlier this year for award-winning first-timer Neil Blomkamp, “District 9.” Still, a technical nomination or two might help “Bones” to be a less gigantic come down for Peter Jackson.

Saoirse Ronan in

New York and L.A. Film Critics make their choices

The two most noted critics groups both gave their awards today and the results are pretty interesting. Just released, we have the winners from New York. Somewhat to my surprise, even though it’s received very positive reviews so far, “Avatar” won for best picture.  Last year’s winner was not “The Dark Knight,” which however did make it into the top 10, but the politically-themed biopic, “Milk.” Genre movies and blockbusters rarely win critics awards.

Avatar

Also, the suddenly more geek-friendly critics group actually gave the most awards to “Inglourious Basterds” which picked up a cinematography award for the always superb Robert Richardson, a best screenplay nod for Quentin Tarantino and, of course, a Best Supporting Actor award and also a Best Breakthrough Performance award for Christoph Waltz’s movie-stealing work as the evil but magnetic “Jew hunter,” Colonel Hans Landa. Another unusual war film, “The Hurt Locker,” picked up the Best Director award for Kathryn Bigelow and, not at all surprising, “Up” won the award for best animation.

Meryl Streep won for Best Actress for “Julie and Julia” and Jeff Bridges won for the not yet released country music drama, “Crazy Heart.” Mo’Nique from “Precious” picked up the Best Supporting Actress award. “The Cove” won Best documentary. ComingSoon.net has the complete list of winners. It’s a pretty interesting group.

The Hurt Locker

Just a bit earlier, the Los Angeles Film Critics, on the other hand, gave the top prize to “The Hurt Locker” (“Up in the Air” was the runner up) and Kathryn Bigelow took another Best Director prize for the thriller. Jeff Bridges, Christoph Waltz and Mo’Nique once again got the Best Actor, Best Supporting Actor, and Best Supporting Actress prizes respectively. The L.A. crickets took a different path entirely, however, on the Best Actress category and gave it to Yolande Moreau for the French-language biopic, “Séraphine.” (The runner up was Carey Mulligan, whose work in “An Education” has been generating a great deal of buzz.)

They also, interestingly, diverted from the New Yorkers in the area of animation, giving the top prize to “Fantastic Mr. Fox,” another succès d’estime for Wes Anderson. However, they followed the NYC reviewers in giving the nod to “The Cove” for Best Documentary. In a nod to genre, “District 9” got a “New Generation” award for writer-director Neill Blomkamp as well as a production design award. Eugene Hernandez of Indiewire has the complete list.

Oscar-buzz fans take note, critics’ awards are not super-reliable indicators of Academy Awards, which tend to be less genre-friendly but also more prone to award big commercial hits. On the other hand, I think it’s safe to say that Kathryn Bigelow, Jeff Bridges, Mo’Nique, Christoph Waltz, as well as “The Hurt Locker”, “Inglourious Basterds,” and perhaps “The Cove” got a big boost today. (The documentary category is notoriously fraught.) Also, I haven’t mentioned its awards, but the little seen black political comedy and festival hit, “In the Loop,” picked up awards from both groups and could, I imagine, get a very helpful nomination or two in possibly the writing and the newly expanded “Best Picture” category.

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