We’re approaching that time of year when, traditionally, everyone from the largest studios to the tiniest distributors trot ‘em all out: the prestige pictures, the festival acquisitions, the Oscar Hopefuls. Last year, I posted a top ten list of what films I most fervently wanted to see. This year, I’ve decided to group them into categories instead:
1. CHLOTRUDIS FAVORITES
Doesn’t it seem like years since we’ve seen Philip Seymour Hoffman in anything? (Well, two, actually, but still). He returns in October as CAPOTE, a biopic that already collected some positive buzz when a rough cut of it was screened at Kendall Sq. earlier this summer. Come Christmas, we’ll also finally be able to see Ellen Page in the controversial HARD CANDY (which, curiously, is not screening at Toronto this month).
2. LITERARY ADAPTATIONS
Quite a few of ‘em this year; maybe no more than usual, but, for a change, I’ve actually read some of the books. I’m most curious to see BROKEBACK MOUNTAIN, Annie Proulx’s superb short story about a gay cowboy romance. It once had Gus Van Sant attached to it, but with Ang Lee now directing, I’m intrigued. Other potentially interesting adaptations: EVERYTHING IS ILLUMINATED (How will first-time director Liev Schreiber handle the book’s surreal, personal narrative?), SHOPGIRL (Steve Martin’s bittersweet novella could make up for years of limp studio flicks and give him his first role of substance since THE SPANISH PRISONER), BEE SEASON (I like that the directorial team behind THE DEEP END is taking on Myla Goldberg’s heady story about spelling bees and Jewish mysticism, but I’m having trouble picturing Richard Gere, of all people, as a cantor) and WHERE THE TRUTH LIES (haven’t read this one, but Atom Egoyan, another Chlotrudis fave, directs Kevin Bacon and Colin Firth in an adaptation of a crime thriller by the guy who once sang “Escape (The Pina Colada Song)”: how can you not want to see that?).
3. DEBUT FEATURES
Mike Mills at last follows the footsteps of fellow music video auteurs Spike Jonze and Michel Gondry into film featuredom with THUMBSUCKER. Apparently, it’s about a teenager (Lou Taylor Pucci) who simply can’t stop sucking his thumb. Maybe he’s just overwhelmed that his parents are played by Tilda Swinton and Vincent D’Onofrio (and Keanu Reeves is his shrink!). Screenwriter Craig Lucas (THE SECRET LIVES OF DENTISTS) also debuts with THE DYING GAUL, which features an excellent trio of actors: Campbell Scott, Patricia Clarkson, and Peter Sarsgaard.
4. FOLLOW-UPS AND RETURNS
Score a big indie crossover hit, and the world expects another one… if only it were that simple. Just ask Gurinder Chadha, who followed up BEND IT LIKE BECKHAM (US box office: $34.2 million) with BRIDE AND PREJUDICE ($6.4 million). Niki Caro probably hopes to fare better with her post-WHALE RIDER project, NORTH COUNTRY, which sounds like a new take on NORMA RAE with Charlize Theron, Frances McDormand and Sissy Spacek. Noah Baumbach (KICKING AND SCREAMING) hasn’t directed a film in eight years. His latest, the autobiographical THE SQUID AND THE WHALE, headed by Jeff Daniels and Laura Linney, had a strong reception at Sundance. Woody Allen, on the other hand, hasn’t directed a *good* film in eight years. Many are already calling MATCH POINT a return-to-form, although its British setting and class-related subject matter make it captivatingly sound like a long-needed break from anything else he’s done.
5. BIG BUDGET STUFF
Amidst the Broadway adaptations (THE PRODUCERS, RENT), the return of Terence Malick (THE NEW WORLD) and another HARRY POTTER film, I’ll be making time to see two stop-animation epics (both likely Chlotrudis non-eligible): Tim Burton’s THE CORPSE BRIDE, and the long awaited WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT.
But wait! There’s also David Cronenberg’s A HISTORY OF VIOLENCE, Cameron Crowe’s ELIZABETHTOWN, Neil Jordan’s BREAKFAST ON PLUTO (can’t wait to see Cillian Murphy in this), TRANSAMERICA (ditto for Felicity Huffman) and the ensemble film NINE LIVES (directed by Rodrigo Garcia, who did the underrated THINGS YOU CAN TELL JUST BY LOOKING AT HER a few years ago)… and many more I’m sure I don’t know about yet.