It’s been somewhat surprising, even given my own innate skepticism about practically everything, that for the last week or so there’s been very little compelling movie news — really very little that I could bring myself to even mention here. To be honest, I kind of liked that way. Much less time consuming and more fun to just throw trailers and stuff at you guys. The last 24 hours or so, however, have been a very different story.
* I often wonder where George Lucas went wrong in a number of departments. Today he’s King Midas in reverse with actors — who else could actually make Samuel L. Jackson boring? — but he directed the very well acted “American Graffitti.” His first two “Star Wars” movies were imperfect but great, great fun — and he had the great good sense to bring in the best writers available, and a very strong director, for the second one. He insisted on doing the three prequels himself, however, and in my opinion and lots of other people’s, showed how borderline unwatchable a space opera could be.
What went wrong? I don’t know but one thing that did happen to Lucas was the departure of producer Gary Kurtz, he of the Abe Lincoln beard who I honestly haven’t thought about in decades.
We live in a climate where even a fairly action-packed stoner black comedy featuring an apparent comedic powerhouse performance by an A-lister can still be released almost as if it were a 4-hour meditation on the futility of existence from the Ukraine. Fortunately for said A-lister, Edward Norton, and actor-writer-director Tim Blake Nelson, “Leaves of Grass” — which has not much to do with Walt Whitman but utterly wowed Roger Ebert — apparently made audiences squeal with delight at SXSW, reportedly setting up a chain of events which saved that film from what Anne Thompson reported on Thursday would have been a mere $250,000 ad budget.
The movie, which really seems to have dramatically divided critics so far (occasionally a sign of a truly interesting film), continues a venerable tradition of great actors interacting with themselves as identical twins and more fanciful doppelgangers. Below, Norton swims quite nicely in the same waters that worked so well for Jeremy Irons (“Dead Ringers”), Nicolas Cage (“Adaptation”), and, more recently, Sam Rockwell (“Moon“). All I can say is that with a supporting cast that features a menorah-wielding Richard Dreyfuss, Keri Russell, Susan Sarandon, and filmmaker Nelson, a strong comic actor whose previous indie films have all been on deadly serious topics, this one may not turn out to be the masterpiece Ebert finds it to be, but it sure looks to me like way too much fun to be left just to us art-house denizens.