Drama »

The summer movie season has already past its half-way point, but my two most anticipated films still haven't arrived: District 9 and Judd Apatow's Funny People. We talked about the former yesterday, and now today it's time to plug a film that looks to bring it all: laughs, tears, Australian accents, Seth Rogen's weird cough-laugh, sarcastic Australian accents, Jason Schwartzman looking stoned, Jonah Hill being a d*ck, tons of stand-up comedy -- seriously, what more could you want from a movie?

Two new pieces of Funny People marketing have arrived today. We have a red-band trailer that premiered over at MySpace and a piece of viral awesomeness that premiered over at Moviefone. The red-band (or restricted ... which sounds so mean, doesn't it) trailer isn't all too bad (with the exception of an oral sex joke), and it definitely shines a light on the finer aspects of Apatow's films, which include real, human moments, or, as some would say, the little stuff.

Meanwhile, the viral piece is something pretty unique. Back in the early '90s, Judd Apatow and Adam Sandler were actual roommates, who, apparently, filmed ridiculous things like prank calls. So ... this video is Apatow filming a very young-looking Sandler prank-calling the local deli as an old lady to complain about a sandwich while wearing underwear on his head. Check out both the trailer and the viral video after the jump.

Funny People hits theaters on July 31.

Call it Juno on Wheels. The first image of Ellen Page in the upcoming roller derby flick Whip It has been released, showing her strapped into a girl scout uniform as she skates around a track with Drew Barrymore and Kristen Wiig. The photo above, and several others, can be viewed at USA Today (additionally, check out two extra images below)

The film represents Barrymore's directorial debut. Page stars as 17-year-old Bliss Cavendar, who is tired of competing in beauty pageants at the insistence of her mother (Marcia Gay Harden). She rebels by joining the Hurl Scouts, a women's roller derby team in Austin, Texas, and finds her true calling -- or, at least, a good place to unleash some pent-up aggression. Barrymore skates with the Scouts, as does Saturday Night Live's Wiig and the great Zoe Bell (Death Proof). Juliette Lewis is described as the villain of the piece, an opposing player determined to defeat Page and the Scouts, and the players all have cool nicknames: Smashley Simpson, Maggie Mayhem, Bloody Holly, and so forth.

As Jenni Miller advised, Fox Searchlight will distribute the film, which is set for release on October 9. Roller derby vet Shauna Cross (AKA Maggie Mayhem) wrote the screenplay, based on her own novel, Derby Girl. A very good doc about the Austin roller derby scene, Hell on Wheels, is available to view at SnagFilms (we also embedded it after the jump), and if Whip It can approach that real-life excitement, it could break out of the fall pack. Since nicknames are de rigeur for roller derby players, what nickname will you choose if you decide to see Ellen Page Whip It?

Indie Roundup reviews the past week of news from the independent film community and provides a peek at what's coming soon.

Opening. Three indie flicks open on Friday: Jeffrey Levy-Hinte's terrific music doc Soul Power, Chris Nahon's live-action adaptation of anime horror thriller Blood: The Last Vampire, and a reissue of Francois Truffaut's 1969 crime romance Mississippi Mermaid, with Jean-Paul Belmondo and Catherine Deneuve. After a good start in New York and Los Angeles (see below), action thriller The Hurt Locker expands into 50 selected markets.

Deals / Articles of Interest. Our friends at indieWIRE reported on three recent acquisitions with upcoming theatrical releases planned: Chris Fuller's critically-acclaimed teen drama Loren Cass (Kino; July 24); Rebecca Miller's The Private Lives of Pippa Lee, with Robin Wright Penn and Alan Arkin (Screen Media, October); and Dror Zahavi's thriller For My Father (Film Movement, Winter 2010). Eugene Hernandez considers Chris Anderson's new book Free: The Future of a Radical Price and suggests that Anderson's "ideas and examples" are applicable to the "evolving marketplace for movies."

On-Demand Viewing. Anne Thompson posted a clip at Variety for Michael Almereyda's post-Karina drama New Orleans Mon Amour, with Elisabeth Moss and Christopher Eccleston. I saw it at SXSW last year and couldn't get into its very deliberate pacing; its virtues might be better appreciated on a smaller screen. It debuts on cable VOD on July 15. Blogging at The Huffington Post, filmmaker Adam Hootnick compares recent events in Iran with the situation in Gaza after Israel's withdrawal from its settlements in 2005. That's the subject of his film Unsettled, which is now available on iTunes and Amazon VOD.

After the jump: Indie box office results -- and a year-to-date report.

Bomb squad. War zone. Malfunctioning robot. In the opening sequence of The Hurt Locker, director Kathryn Bigelow expertly sets a tone of anxious, sweat-soaked drama. The film has been playing in New York and Los Angeles, expands to selected cities this Friday, and then goes wide on July 24. You can watch the first eight minutes online at Hulu (or after the jump).

And if that doesn't grab you, I don't know what will. I saw The Hurt Locker at SXSW, and that opening sequence pinned me to my seat. Guy Pearce leads a bomb squad that includes Anthony Mackie and Brian Geraghty. They're already suited up in protective gear as the scene begins, wisecracking and otherwise demonstrating an easy camaraderie. A small wheeled robot has a minor mechanical malfunction, requiring Pearce to walk into harm's way to fix it. The team's wary conversational bravado continues, even as they shift into high alert on the mostly empty street. Civilian bystanders could be friendly -- or they could be waiting to trigger the bomb.

Jeremy Renner, who turns up a little later in the picture, stars as a new member of the squad. He's a confident expert, but his reckless methods cause the others to question whether his devil-may-care attitude is needlesssly endangering their own lives. Ralph Fiennes, David Morse, and Evangeline Lilly also appear in small roles. I fully agree with James Rocchi, who wrote in his review: "You'll want to see it at a theater near you, in fact, on the largest possible screen with the best possible sound." Don't miss it.

As much as we might like to poke fun at Twilight now and again, there's no denying it's a multimedia juggernaut. Besides the books, you can read about the stars in their off-hours in celeb gossip mags, listen to Twilight-inspired bands like The Bella Cullen Project, read Twilght fan fiction, peep fan art, buy all the Twilight tchotchkes your heart could desire over at Hot Topic or Amazon (like this jewelry box!) and, yes, get inked with Twilight-inspired tattoos.

But unless Stephenie Meyer starts cranking out some more books about Bella and Edward, the four Twilight tomes are going to be the end of Bella and Edward on the big screen... right?

Not necessarily, according to Twilight's producers, who were caught on video by the folks over at RadarOnline.com at the 36th Annual Vision Awards this past weekend. RadarOnline's intrepid reporter tracked down Wyck Godfrey and Greg Mooradian at one of the awards parties and asked them about the possibility of a spin-off about the Volturi family.

For those not in the know -- myself included -- the Volturi family is the big daddy coven of vamps, the "de facto royal family" according to the extensive Twilight wiki. The cast list for New Moon's Volturi clan stands out because it includes Michael Sheen, star of Frost/Nixon, The Queen and Tim Burton's highly anticipated remake of Alice in Wonderland, and future Runaway Dakota Fanning.

While Greg Mooradian played coy, he left the door open for spin-offs depending on how well the saga does in theaters and "[where] the audience demands us to go from there."

You'll have to dip a bit back into the memory banks for this project. Back in 2007, well before Jake Gyllenhaal got buff for the Prince of Persia, he and Tobey Maguire were circling an English-language remake of Susanne Bier's Brothers. No longer rivals for the web of Spider-Man, the two would play brothers that get torn apart by war, assumed death, and familial drama. The film will finally get released this year, and there's a solid first trailer over at ET Online.

Maguire plays Sam, a marine off on his fourth tour of duty while Gyllenhaal plays Tommy, his charming bad-boy brother, fresh out of jail. When Sam's copter is shot down, he's assumed dead and his wife Grace (Natalie Portman) tries to pull her life back together. Tommy helps, the line blurs, and in true Hollywood fashion, just as she starts to fall for Tommy ... it turns out Sam is alive. He was tortured by the Taliban, but now returns home visibly on edge both from his experiences and Tommy's inclusion in his family's life.

Talk about a welcome change. The film looks good. It's been long enough since the seemingly daily influx of war films that the premise doesn't seem tired, and it's almost jarring to see Maguire getting serious again -- in a gaunt and crazy Machinist sort of way. Since the first Spider-Man came out, the only non-webbed wonder movies to get released were Seabiscuit and The Good German. It's about time Maguire showed off more non-Peter Parker fare. As for Jake, well, he doesn't really look like a bad boy and brings to mind Marc Blucas in Prey for Rock & Roll, but that's not entirely surprising.

The film is slated to hit screens on December 4.

Hearing about a mixture of Lori Petty and David Alan Grier immediately brings to mind the wonderful '90s, when Petty was the tough-as-nails Tank Girl in a post-apocalyptic water-hungry world and Grier was one of the big names of In Living Color. But now the two have teamed up, and it's not for some quirky bit of comedy, but rather a super-heavy drama that's finally going to hit the big screen.

Variety reports that Phase 4 Films has picked up the U.S. rights to The Poker House, which just so happens to be Petty's directorial debut from a script she wrote with Grier. The Living Color alum stars with Selma Blair and Jennifer Lawrence in the story which can, simply and vaguely, be described as "a portrait of life in a poor small town in Iowa in 1976," as Variety says. But a little more specifically, it's the story of a young basketball playing girl who has heavy troubles at home -- think prostitutes, pimps, and the struggles of desperation and poverty.

For IGN, Todd Gilchrist compared the film to the heaviness of Boys Don't Cry, Monster, and In the Bedroom, but stated: "Ultimately, The Poker House just isn't a very good film, regardless of where it came from, who made it or what it's trying to say." So why bother? One, it's looking to be one of those films you love or hate. Two, it's based on Petty's actual experiences, so it could give you a look into the mind of our Tank Girl.

The film hits theaters on July 17.

Michael Mann's latest crime opus has already hit theaters, and like most of his devoted fans, I was there opening day. Granted, my desire to be first in line for Public Enemies mainly had to do with my preoccupation with pretty boys in nice suits, but trust me, there were some loftier ideals at work. One of the reasons I love Mann's films is that he finds new ways to tell relatively traditional stories...which brings me to Miami Vice. Vice definitely wasn't one of Mann's most popular films, but I always defend this flick, and here's why: growing up, I watched Miami Vice, and I might have loved it, but even at the tender age of 10 I knew it was kind of silly. I had always wondered what the series would have looked like if the show had a little less cheap humor about Crockett and his alligator and a little more 'dignity' -- fast forward to 2006, and that's exactly what Mann did.

Gone were the over the top white suits and wise cracks (I mean, thank god I didn't have to watch Colin Farrell yucking it up with 'Elvis'), and instead, Mann replaced them with a darker, meaner, and (dare I say it?) more realistic Miami Vice. But just because Mann brought Vice into the present, didn't mean that those traditional touches were gone, and the teaser was proof. That first trailer had it all -- the music perfectly timed with every shotgun pump, speedboats, helicopters, guns and hot girls...and you can't get more Miami Vice than that.

After the jump; the teaser and a reminder of Vice on the small screen..