In Contention

Tag: What’s Wrong With Virginia

  • TIFF: Lionsgate/Roadside grabs ‘Conspirator,’ Hawkins belle of the ball, Black’s melodramatic upbringing

    It seems Robert Redford’s “The Conspirator” has become the first significant sell of Toronto (a few things have been picked up here and there already).  Lionsgate and Roadside Attractions (which is really stepping it up this year) have nailed down the domestic rights, but go ahead and strike the film from your longlists.  It won’t be released until the spring, Deadline’s Mike Fleming reports.

    Meanwhile, Patrick Goldstein sat down with Sally Hawkins, who has three films at the festival in “Never Let Me Go,” “Submarine” and “Made in Dagenham.” Andrea Riseborough is in two of those films (as well as “Brighton Rock”) and has been getting similar notices, but it’s Hawkins who could really make a dent on the season.

    In his piece, Goldstein offers that for him, “what makes [‘Made in Dagenham’] work so well is that it doesn’t treat its story as a weighty political screed.”

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  • TIFF: ‘Brighton,’ ‘Virginia’ bow, ‘Super’ picked up

    At Toronto today, a hand handful of distribution-seeking films hit and one potential cult favorite found a home.  Let’s dig in…

    One film looking for a distributor that we’ve had an eye on as a potential awards play for supporting actress Andrea Riseborough is Rowan Joffe’s Graham Green’s  “Brighton Rock.” But The Hollywood Reporter’s Ray Bennett largely criticizes a “bloated score” that he says “overwhelms” the narrative.  But he had nice things to say about Riseborough by noting that she “adds to the film’s appeal.”  (See a new clip from the film after the jump.)

    The Jennifer Connelly-starrer “What’s Wrong with Virginia,” from “Milk” writer (and Oscar-winner) Dustin Lance Black, also screened.  Jeffrey Wells “didn’t give a damn about the angry rurals in Black’s world” and walked out of the screening.  The Film Stage’s Jordan Raup, meanwhile, called it “Solondz-lite,” and despite good things to say about Connelly’s performance, said the film “didn’t really come together.”  And Salon’s Andrew O’Hehir found it to be an unstable mix of “American Beauty” and “Blue Velvet.”

    And in the acquisitions department, James Gunn’s “Super” (which was well received at a midnight screening Friday night) has been picked up by IFC Films for its IFC Midnight banner.

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  • Fall festivals ready for their close-up

    In the last couple of weeks the major fall film festivals have unveiled aggressively competitive line-ups, and the amount of potential awards product landing at Venice, Telluride, Toronto and New York is, as usual, vast.

    There are plenty of overlapping exhibitions but as for firsties, Venice will get dibs on Darren Aronofsky’s “Black Swan,” Julie Taymor’s “The Tempest,” Julian Schnabel’s “Miral,” Ben Affleck’s “The Town,” and Richard J. Lewis’s “Barney’s Version” before the films make their way to other fests.  Sofia Coppola’s “Somewhere” will be exclusive to the Lido.

    New York, meanwhile, landed a real coup by boasting the world premiere of David Fincher’s “The Social Network,” which will not be at the other fests.

    Toronto is again packed to the gills with product (too much, if you ask me, but it’s a media circus after all).  Clint Eastwood’s “Hereafter” will see its first bow there before heading off to New York in October.  Tony Goldwyn’s “Conviction” will also debut, as well as John Madden’s “The Debt,” Rowan Joffe’s “Brighton Rock,” Ryan Fleck and Anna Boden’s “It’s Kind of a Funny Story” and Nigel Cole’s “Made in Dagenham.” World premieres searching for distributors at the fest include Robert Redford’s “The Conspirator,” John Cameron Mitchell’s “Rabbit Hole” and Dustin Lance Black’s “What’s Wrong with Virginia,” any of which could end up being awards season possibilities.

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  • Fletcher rides Oscar momentum to directorial debut

    In retrospect, Geoffrey Fletcher’s Best Adapted Screenplay win for “Precious” at last month’s Academy Awards shouldn’t have come as quite the shock it did. In the last few years, Oscar voters have been especially kind to newcomers in the writing races, with this year’s pair of freshman winners, Fletcher and Mark Boal, coming on the heels of three others who struck gold for their first feature credit: Michael Arndt, Diablo Cody and Dustin Lance Black.

    How do you follow that kind of debut success? In the case of many of those names, we’re on the verge on finding out. Arndt has lain low since striking gold with “Little Miss Sunshine” in 2006, but will be back on the radar this summer with “Toy Story 3” — for which, unusually for a Pixar production, he has sole script credit.

    Cody may have struck out with “Jennifer’s Body” last year, but is having more luck on the small screen with “The United States of Tara.” Boal, meanwhile, is continuing his happy partnership with Kathryn Bigelow, as the two are readying the South American-set thriller “Triple Frontier” for shooting.

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  • Neeson, Connelly headline Dustin Lance Black’s directing debut

    Liam NeesonThe Liam Neeson career revival continues apace. Variety reports that the 56 year-old thesp will star opposite Jennifer Connelly in “What’s Wrong With Virginia,” the first directorial effort from “Milk” scribe Dustin Lance Black. The film, which has Gus Van Sant involved as an executive producer, which begins shooting this summer. The pitch goes as follows:

    Connelly will play the charming but psychologically disturbed mother of a 16-year-old son. Her 20-year clandestine love with a sheriff (Neeson), who is running for the state senate, is tested when her son begins a relationship with his daughter.

    Sounds to me like a return for Black to the quirky domestic territory of “Big Love.” Is this a comedy of sorts? Certain details (that title, for starters) imply that to me, though it isn’t made clear in the report. Either way, Neeson and Connelly aren’t exactly the first pairing I’d think of for an onscreen romance — so, well, interesting.

    We’re also reminded that Black and Van Sant are collaborating once more on an adaptation of Tom Wolfe’s “The Electric Kool-Aid Acid Test,” which is an ambitious undertaking to say the least. You may remember that I wasn’t exactly sold on Black’s Oscar-winning efforts on “Milk,” but good on him for using his post-win momentum to get as many irons in the fire as possible.