20 Films to See This Week: De Palma, Argento, Burton + More

20 Films, New York

From IFC Center and BAM  to Film Forum and The Film Society of Lincoln Center, check out the 20 films to see this week around the city.



LBJ (1968, 18min)
79 Primaveras (1969, 25min)
Now (1965, 5min)
Hanoi Martes 13 (1968, 38min)
Ciclon (1963, 22min)


WESTERN, Bill and Turner Ross
The Film Society of Lincoln Center

Drug cartel violence and border politics threaten the neighborly rapport enjoyed for generations between Eagle Pass, Texas, and Piedras Negras, Mexico. In their trenchant and passionately observed documentary, Bill and Turner Ross render palpable the unease and uncertainty of decent, hardworking folk as they are buffeted by forces beyond their control, including senseless acts of torture, murders committed just outside their homes, and the temporary USDA ban on livestock trade. Drawing on archetypes of rugged individualism and community, Western focuses on Mayor Chad Foster, who presides over Eagle Pass with a winning, conspiratorial smile; José Manuel Maldonado, his kindly Piedras Negras mayoral counterpart; and Martin Wall, a cattle rancher whose Marlboro Man stoicism melts away in the presence of his young daughter, Brylyn. Western firmly positions the Ross brothers at the frontier of a new, compelling kind of American vernacular cinema.


IFC Center

Tim Burton put the goth back in Gotham for his hit 1992 sequel BATMAN RETURNS, which features a villainess who finds her strength through kinky black bondage wear, a theme song by goth queen Siouxsie and the Banshees and a script by black comedy genius Daniel Waters (HEATHERS). Though it was criticized by parental groups for being too dark, BATMAN RETURNS nonetheless struck a chord with a generation of “middle-American, tortured oddballs” like our guest presenter, performance artist and goth opera wunderkind Joseph Keckler, who remembers being “entranced by the deformed and power-hungry Penguin (Danny DeVito) and even more by the revelation of Catwoman (Michelle Pfeiffer): undergoing a vampire-like interspecies resuscitation, she transforms from the scattered, apologetic and subservient Selina Kyle to an oversexed vigilante, whip in hand. Still floating around in the collective unconscious of my generation, like trash in the sewers of Gotham, are fantasies of being with her and being her, of coming back to life with claws.” Join us for a fabulously fun screening!


DEATH LAID AN EGG, Giulio Questi
Anthology Film Archives

Giulio Questi’s giallo-on-acid, a pop art manifesto against mass production, takes the plot of Henri-Georges Clouzot’s DIABOLIQUE and turns it into something truly bizarre. Marco (Jean-Louis Trintignant) occupies the center of a love triangle involving his wife (Gina Lollobrigida) and her luscious niece (Ewa Aulin), at the high-tech chicken farm they run – and this busy man still finds the time to kill prostitutes on the side. This is poultry art at its best!


Anthology Film Archives

A musician accidentally kills the stalker who had been menacing him over the phone. The killing is witnessed by a masked figure, and soon the musician is being blackmailed. One by one everyone around him turns up dead, making him the prime suspect. In this final installment of the ANIMAL TRILOGY, Argento takes his visual stylistics and set pieces to another level. Long unavailable, the film is presented in a rare archival 35mm print. Starring Michael Brandon and Mimsy Farmer.




PARABELLUM, Lukas Valentina RInner
Film Society of Lincoln Center

A Buenos Aires office worker finishes his day, visits his father in a rest home, lodges his cat in a kennel, and cancels his phone service. (Did you overhear the news report of riots and social unrest on the radio?) The next day, he and 10 equally nondescript individuals are transported up the Tigre delta in blindfolds and arrive at a secluded, well-appointed resort for a vacation with a difference. Instead of yoga and nature walks, the days’ activities range from hand-to-hand combat and weapons instruction to classes in botany and homemade explosives. Welcome to boot camp for preppers, the destination of choice for the serious Apocalypse Tourist. Austrian filmmaker Lukas Valenta Rinner handles his material in his home country’s familiar style, with cool distance, minimal dialogue, and carefully composed frames, interpolating the action with extracts from the invented Book of Disasters, a must-read for anyone warming up for the collapse of civilization as we know it. People, are you in?


CHRISTMAS, AGAIN, Charles Poekel
Film Society of Lincoln Center

A forlorn Noel (Kentucker Audley) pulls long, cold nights as a Christmas-tree vendor in Greenpoint, Brooklyn. As obnoxious, indifferent, or downright bizarre customers come and go, doing little to restore Noel’s faith in humanity, only the flirtatious innuendos of one woman and the drunken pleas of another seem to lift him out of his funk. Writer-director Charles Poekel has transformed three years of “fieldwork” peddling evergreens on the streets of New York into a sharply observed and wistfully comic portrait of urban loneliness and companionship. While Christmas, Again heralds a promising newcomer in Poekel, it also confirms several great young talents of American indie cinema: actors Audley and Hannah Gross, editor Robert Greene, and cinematographer Sean Price Williams.


Anthology Film Archives

Jane (the queen of giallo, Edwige Fenech) is plagued by a recurring nightmare after losing her unborn child in a car accident. Her busy husband Richard (George Hilton) deals with it by plying her with pills, while her sister books sessions for her at the doctor. Things take a turn for the worse when the creepy blue-eyed man from her nightmares materializes in real life, and the upstairs neighbor enlists her in satanic rituals. Set in Swinging London, ALL THE COLORS OF THE DARK is graced by Sergio Martino’s impeccable camera work and Bruno Nicolai’s terrific score.


Light Industry

Adynata and Mayhem, two crucial works of experimental film from the 1980s, pursue a radical aesthetic agenda not merely on the level of content, but of form. They stand as living, moving arguments for a film language that is not only critical but generative. Rejecting all manner of constricting binaries—East and West, male and female, heterosexual and homosexual—this is not merely a deconstruction of cinema but its reconstruction. “Film has depended on voyeuristic active/passive mechanisms,” Mulvey notes in the final lines of her essay. “Women, whose image has continually been stolen and used for this end, cannot view the decline of the traditional film form with anything much more than sentimental regret.”


TENEBRAE, Dario Argento
Anthology Film Archives

An American writer travels to Rome to present his new novel only to find himself implicated in a killing spree whose perpetrator is taking cues from his book. In one of his most personal films, the master of horror fires back at the wave of criticism that he was facing at the time. Featuring an outstanding score by Goblin (DEEP RED, SUSPIRIA), an infamous crane shot, and one of the most memorable chase scenes between man and dog ever filmed, this rare uncut 35mm print of TENEBRAE is not to be missed!




I AM CUBA, Mikhail Kalatozov

This retina-dazzling agitprop masterwork is Soviet filmmaker Mikhail Kalatozov’s delirious dream vision of the Cuban revolution, in which the Felliniesque decadence of Batista-era Havana gives way to the explosion of Castro’s guerrilla uprising. A head-spinning mix of Constructivist aesthetics and sensuous photography, I Am Cuba pulses with “some of the most exhilarating camera movements and most luscious black-and-white cinematography you’ll ever see” (Jonathan Rosenbaum, Chicago Reader).


Film Society of Lincoln Center

Nadav Lapid’s follow-up to his explosive debut, Policeman, is a brilliant, shape-shifting provocation and a coolly ambiguous film of ideas. Nira (Sarit Larry), a fortysomething wife, mother, and teacher in Tel Aviv, becomes obsessed with one of her charges, Yoav (Avi Shnaidman), a 5-year-old with a knack for declaiming perfectly formed verses on love and loss that would seem far beyond his scope. The impassive prodigy’s inexplicable bursts of poetry—Lapid’s own childhood compositions—awaken in Nira a protective impulse, but as her actions grow more extreme, the question of what exactly she’s protecting remains very much open. The Kindergarten Teacher shares the despair of its heroine, all too aware that she lives in an age and culture that has little use for poetry. But there is something perversely romantic in the film’s underlying conviction: in an ugly world, beauty still has the power to drive us mad.


Nitehawk Cinema

Four sexy college girls plan to fund their spring break getaway by burglarizing a fast food shack. But that’s only the beginning. During a night of partying, the girls hit a roadblock when they are arrested on drug charges. Hungover and clad only in bikinis, the girls appear before a judge but are bailed out unexpectedly by Alien, an infamous local thug who takes them under his wing and leads them on the wildest Spring Break trip in history. Rough on the outside but with a soft spot inside, Alien wins over the hearts of the young Spring Breakers, and leads them on a Spring Break they never could have imagined.


Anthology Film Archives

A wheelchair-bound heiress is murdered, and a chain of killings ensue, as everyone who has a stake in the pie struggles to eliminate anyone standing in the way of the inheritance. The situation is complicated by a group of teens who decide to go camping by the lake on the estate. Widely regarded as a pioneer of the slasher sub-genre, Bava’s high-body-count murder mystery is one of his most influential works.


Anthology Film Archives

Dick (Ray Lovelock) and Ingrid (a teenage Ornella Muti) finance their carefree lifestyle by smuggling pornography from Scandinavia into Italy, but when they run out of money they resort to selling dirty pictures of themselves. Soon they are arrested and ordered to return to their country, but car troubles force them to make a pit stop at a villa where the apprehensive lady of the house (Irene Papas) is alone awaiting her husband. DIRTY PICTURES begins as a road film but slowly morphs into a chilling cat-and-mouse game. The result is a standout Giallo from prolific genre master Lenzi.




MERCURIALES, Virgil Vernier
The Film Society of Lincoln Center

With an eclectic assortment of shorts, documentaries, and hybrid works to his name, Virgil Vernier is one of the most ambitious young directors in France today, and one of the hardest to categorize. Taking a cue from Godard’s 2 or 3 Things I Know About Her, Vernier’s most accomplished film to date trains his camera on the Parisian suburb of Bagnolet, shadowing two receptionists (Ana Neborac and Philippine Stindel) who work in the lobby of the titular high-rise. As the girls drift from one enigmatic situation to the next—going to the pool, visiting a maze-like sex club, hunting for new employment—Vernier’s visual strategies and narrative gambits grow ever more inventive and surprising. Beautifully shot on 16mm by cinematographer Jordane Chouzenoux and set to James Ferraro’s haunting electronic score, Mercuriales is that rarest of cinematic achievements: a radical experiment in form that also lavishes tender attention on its characters.


CARLITO’S WAY, Brian De Palma
IFC Center

Named the Best Film of the 1990s by Cahiers du Cinema “’30s-style gangster tragedy about a man doomed to an early grave by his society and his own code. Carlito (Al Pacino) wants out of the rackets, but to get there he has to ‘play Bogart’, running a discotheque, and even then he can’t escape his friends — lover Penelope Ann Miller and lawyer Sean Penn… Pacino looks every inch a movie star, and De Palma provides a timely reminder of just how impoverished the Hollywood lexicon has become since the glory days of the ’70s.” – Time Out (London)


Anthology Film Archives

Florinda Bolkan (INVESTIGATION OF A CITIZEN ABOVE SUSPICION, DON’T TORTURE A DUCKLING) plays an interpreter tormented by a recurring dream about two astronauts stranded on the moon. She soon travels to a distant seaside town and checks in at a dilapidated hotel where, to her surprise, she runs into a series of strangers who seem to know her. Beautifully lensed by the great Vittorio Storaro, this psychological giallo from Luigi Bazzoni not only delivers in terms of style and mystery, but is also an intriguing character study thanks to Bolkan’s inspired performance. Also starring Klaus Kinski and familiar giallo child-star Nicoletta Elmi (DEEP RED, DEMONS).


Anthology Film Archives

Following a premonition, a clairvoyant woman (Jennifer O’Neil) tears down a wall in her husband’s country house and discovers a skeleton. Preyed upon by terrifying visions, she sets out to find the truth with the help of a psychologist (Marc Porel), only to realize that her own life might be in danger. One of Fulci’s tightest works, this rare parapsychic horror gem features a score by Franco Bixio, Fabio Frizzi, and Vince Tempera.



1956. USA. Directed by Arthur Lubin. Screenplay by Devery Freeman, Stephen Longstreet. With Ginger Rogers, Barry Nelson, Carol Channing, James Arness, Clint Eastwood. After 10 years as a freelancer, Rogers returned to her former home base, RKO, for this pleasantly feminist comedy Western—which suitably proved to be the last film released by the battered studio. Under Arthur Lubin’s direction, Rogers returns to her plucky, career-girl persona of the 1930s, complete with squeaky voice: she’s a saleswoman with the unenviable assignment of peddling barbed wire to the open-range ranchers of Texas. Carol Channing, in her first credited movie role, is her comically gangly assistant; as her love interest, Lubin cast his personal protégé, an impossibly handsome young Clint Eastwood. This is likely to be the last public performance of this vintage 35mm IB Technicolor print, which suffers from “vinegar syndrome” and displays some warping in its final minutes. 92 min.


See the Seductive New Poster for Brian De Palma’s ‘Passion’

Master of the haunting psycho—and oft sexual—thriller, Brian De Palma has given us some truly great films in his long and winding career. From Carrie, Blow Out, Sisters, Scarface, and many other works of stirring cinema, he’s been one of the most eminent filmmakers of haunting and suspenseful stories that linger long after the credits role.

And with his latest feature, the sexually-charged and dangerously intriguing Passion, we’re looking forward to what erotic tricks and turns De Palma has up his sleeve. The official synopsis reads:
Brian De Palma returns to the sleek, sly, seductive territory of Dressed To Kill with an erotic corporate thriller fueled by sex, ambition, image, envy and the dark, murderous side of PASSION. The film stars Rachel McAdams (Midnight In Paris, Sherlock Holmes, Mean Girls) and Noomi Rapace (Prometheus, The Girl With The Dragon Tattoo) as two rising female executives in a multinational corporation whose fierce competition to rise up the ranks is about to turn literally cut-throat.
And now, we finally have August 1st (VOD) and August 30th (theatrical) for release dates thanks to distributors eOne. But as of today, we also have a new theatrical poster for the film courtesy of Film.com. See it below and check back here for more updates on the female-driven thriller.

It’s Your Last Day for Free Criterions, Here’s What You Should Be Watching

Well folks, I hope you feasted yourself on Criterion Collection films this weekend, because today is the last day to gorge on wonderful cinema for free. And as it is technically a holiday, hopefully you’re home lounging around and can make up for lost time if you haven’t already been glued to your television for the past 72 hours. Personally, I spent the better half of the weekend falling deeply in love with Rainer Werner Fassbender and revisiting some old Bunuels. But on this last day of free movies, here are some more suggestions from 1970s German melodramas and avant-garde beauties to emotionally devastating American classics. Enjoy.


The Bitter Tears of Perta von Kant, Rainer Werner Fassbinder (1972)

Hotel Monterey, Chantal Ackerman (1972)

Opening Night, John Cassavetes (1977)

Mishima: A Life in Four Chapters, Paul Schrader (1985)

Sisters, Brian De Palma (1973)

Le Feu Follet, Louis Malle (1963)

Weekend, Jean-Luc Godard (1967)

Quadrophenia, Franc Roddam (1979)

Jules and Jim, Francois Truffaut (1962)

Eating Raoul, Paul Bartel (1982)

Cinematic Panic: Looking Back on the Tortured Minds Behind ‘Taxi Driver’

“This movie is as good as Citizen Kane…no, it’s better than Citizen Kane, it’s got more heart,” said John Cassavetes to Martin Scorsese after watching Who’s That Knocking at My Door for the first time. Scorsese nearly passed out. He worshipped Cassavetes, and from then on Cassavetes looked at him like son. And although both Cassavetes and Scorsese both put out some of the best films of the 1970s, they were from two entirely different schools of filmmaking. The Scorseses of the world inherited what the Cassavetes generation had paved the way for. But Cassavetes was just insular in his world, extremely consumed by his own concerns. It was moreso the Hopper-Beatty-Nicholson generation that filmmakers like Martin Scorsese, stumbled down from. These young filmmakers were now able to operate on the notion that there could be a conversation between them and the audience. “They were the benefactors, the prodigy of New Hollywood battles fought and won for artistic integrity and youth recognition by everyone from Arthur Penn to Stanley Kubrick and Peter Fonda,” said Peter Biskind in his book Easy Riders, Raging Bulls that provides perhaps the best written account of this era in Hollywood.

And although he’s one of Hollywood greatest living legends and cinematic minds today, about 40 years ago Scorsese was just a chubby young filmmaker, fresh out of school and clawing at the bit to get his voice heard and his work seen. Sandy Weintraub, who Scorsese collaborated with artistically as well as romantically, said, “Marty was tempestuous, volatile, and passionate about his life…he breathed, ate, and shat movies. I would tell him about my dreams and he would tell me about the movie he had seen on TV the day before.” Coming from a strictly Catholic Italian-American family in New York, Scorsese had grown up a child plagued with physical ailments. His asthma forced him to stay inside while other young kids played outside, thus helping him develop his lifelong obsession with cinema and the escape into other worlds through the screen.


“The period from ’71 to ’76 was the best period because we were just starting out,” Scorcese said. “We couldn’t wait for our friends’ next pictures, Brian [De Palma]’s next picture, Francis [Ford Coppola]’s next picture, to see what they were doing. Dinners in Chinese restaurants midday in L.A. with Spielberg and Lucas.” And Nicholas Beach was where he and Sandy would make the trip up the Pacific Coast Highway each weekend: a secluded spot filled with their group of filmmaking pals “where the only rules were the ones we made.” As is told in Easy Riders, Raging Bulls, one day Peter Boyle came to stay at the beach and brought a vile of coke—suddenly, “Eve bit into the apple.” It was new to most everyone, not knowing exactly how to do it. But it stuck. Actress Margot Kidder recalled, “Out of the drugs came a lot of swampy ideas but also a lot of creative thinking and most important, breaking down of personal barriers and that ridiculousness of pride of holding oneself and having a phony social persona. If that hadn’t been the case, none of us would have developed our talents. But Spielberg didn’t take drugs, Brian didn’t, Marty didn’t until later when he got into trouble with coke. The directors who ended up successful were very protective of their own brains.”

Scorsese had enough problems. He was filled with a mix of Catholic guilt and anxieties created by his own strenuous mind. Flying was a disaster—he had to grip a crucifix until his knuckles turned white during take off, he was afraid the number eleven (he wouldn’t go anywhere near it or anything that added up to it), and he was also absolutely convinced that he was going to die by age 40. It wasn’t a self-destructive notion, rather just an innate knowledge that he was going to live hard and die young whether it be from his always-uneasy health or a plane crash. So it seems for someone so burdened by neurosis, he would find a companion in a like-minded individual who was also “culturally and emotionally sandbagged by the ’50s”—that person being Paul Schrader, just one of the boys at the beach. But it wasn’t so easy.


Schrader was a very messed up human—”deranged” many would say. He was extremely intelligent but cynical and depressive. He was raised in a strict Dutch Calvinist household with parents that would whip him with electrical chords and poke him in the hand with needles, telling him, This is what hell will feel like.” Martin Scorsese once said that his entire life was “religion and film, nothing else,” and it seems as though Schrader too shared that sentiment. He did not see a movie until he was seventeen, and when he did he began to hallucinate, believing he had committed some great sin and was going to burn in Hell forever. His strict Calvinist upbringing left a paralyzing imprint on his work; film for him will always be dirt—cinema, sex, and sin forever linked in Schrader’s eyes. But he did not shy away from these subjects; he embraced them manically, using them as a way to expose his darkest desires that had always been forbidden. He put his sins on paper as a way to relieve himself of them, as if he will be freed once they are out of his head and onto the page. He exploits the dark side of sex and its industry in his films (his male characters frequently visit pornographic theaters and brothels), but he does so in a way that’s stripped of any ounce of sensuality or desire. The Calvinists believe that if you do these things right in your life, death will be your salvation and you’ll go to Heaven. Schrader, however, had committed enough sin to burn in Hell. These feelings of guilt and fear left him socially and psychologically disturbed, feeling removed from the world around him, like a lonely figure traveling through life.

One day, over a game of chess, Schrader told Brian De Palma that he had written a script called Taxi Driver. De Palma sent it to producer Michael Phillips who loved it but knew finding a director to take on something so bizarre would be a challenge. Scorsese wanted it—bad. But when Schrader saw a cut of Scorcese’s Boxcar Bertha, he just rolled his eyes. He discussed the script with Pauline Kael who “didn’t know if De Niro could carry a film.” At that time, Robert De Niro was a fairly unknown actor who came from a middle-class bohemian upbringing—a stark contrast to that of Schrader and Scorsese, the latter fascinated by the idea of this “paradise” to be raised in a creative environment. De Niro’s rebellion came from “getting into the heavy street thing.” But he was a serious actor and rarely ever spoke, which seems like a far cry to the De Niro we know today. Casting director Nessa Hyams once said, “You couldn’t get De Niro arrested.” He rarely attended parties or hung out; when he did go to a party, he would often be found falling asleep on the couch.


After the release of Mean Streets, Scorsese and De Niro both got the green light, and Taxi Driver came into action. The film is a hard-edged look at the New York City streets told through the lens of an art film. The neon-lit buildings sparkle and melt onto the screen in contrast to the filth and scum that penetrate the sidewalks and, thusly, the collective psyche of the film. Biskind describes the film best as:

following the nocturnal wanderings of a cabbie, Travis Bickle—a violent, Vietnam vet—through Times Square as he encounters a variety of human offal and rountinely cleans the blood and come off his backseat. He gets a crush on a blonde campaign worker, and his attention wanders between her and Iris, a twelve-year-old hooker. The story climaxes in a bloodbath, as he blows away Iris’s pimp and johns in an attempt to redeem her.

Taxi Driver begins with the menacing and anxiety-invoking Bernard Herrmann score that encompasses the rest of the film. Scorceses doesn’t hide anything. The close up of Travis’s eyes blend with the scenery as we realize the city around him is just as much of a character as he is. Biskind goes on to say, “To paraphrase Schrader, if you put Penn and Antonioni in bed together, put a gun to their heads and told them to fuck while Bresson watched through the keyhole, you got Taxi Driver.” Fair enough.


Travis must transform himself from the inside out in order to accomplish what he’s set out to do. He must go down into the underworld where he’s seeking vengeance on and become the scum he sees on the streets. In order to save Iris and help rid the world of the filth polluting the streets, he tries to make himself a machine. He goes from eating terribly to working out everyday and trying to make himself as hard as possible—mentally and physically. He changes his lax attitude and becomes strict with himself as if he is completely possessed by his mission. His life needed a purpose and this was it. When special forces were going into battle, they would shave their hair into a Mohawk; as a veteran, it would make sense that Travis would do the same. This was his battle. Paul Schrader dressed De Niro in his own clothes for the film as Travis. He could have played the role himself.

With Michael Chapman as the DP and Raoul Coutard as cinematographer, the film takes the sort of European aesthetic and sense of isolation with an hint of an Americana façade. Everyone involved in the film was influenced heavily by the work of the French new wave. Chapman said, “Godard was the great freeing influence for all of us. He said, ‘Look, you don’t have to worry about this or that’”—a notion that made its way into Taxi Driver from the Alka Seltzer shot reference to 2 or 3 Things I Know About Her to the moment Travis drives into the car garage and the camera goes elsewhere, saying, ‘Don’t look at this guy, look at the word he lives in.’ When Scorsese was forced to desaturate the colors in the denouement of the film so that it could slide from an X-rating to an R, he thought the joke was on everyone else—the washed-out grit of it all only made it that much more brutal.


In the beginning of the film, Travis speaks of rain washing the scum off the streets; in the end he takes on the role of that rain. The final moments leave us questioning whether or not he kills himself as a means of salvation, or if it is in fact a reality that he is a hero and Iris is returned home safely to her parents. But whatever audiences believed, they loved it, and the film was a surprising commercial success. Bickle look-alikes lined up around the block to see the film the day it opened, feeling a connection to this new and bizarre piece of cinema that reflected not only where things were at but the frightening reality of what we are all capable of. When we watch the film now and look back on these young people involved, those men thriving with talent and exploding with an aggressive passion, one cannot help but wonder what will speak to our generation the way this film did to those of the time. I suppose only time will tell.

You can see Taxi Driver tonight and tomorrow at midnight at IFC Center.

Follow Hillary Weston on Twitter.

Al Pacino to Star as Joe Paterno in Brian De Palma’s Upcoming Biopic

When I think of all of the stories that need to be put on the big screen, obviously, naturally, the first one to come to mind is that Penn State child-rape football scandal. Think about it! The gltiz, the glamour, the drama! And all of it directed by Brian De Palma, someone know for his incredibly somber, subtle films like Carrie, Sisters, and Snake Eyes. And who else to play Joe Paterno but living legend Al Pacino? What could possibly go wrong here?

DePalma will be reuniting with his own Scarface actor for a film tentatively titled Happy Valley based on a biography of the Penn State football coach by Joe Posnanski. The film will focus on Paterno’s "Shakespearian fall from grace" following the Penn State rape scandal. Deadline reveals why it looks to be a heavy-hitting film:

There are so many themes to deal with here, from Paterno’s rise and his loyalty to a football program he spent his life building, to the obvious question of how a molder of young men could possibly have stood silently by when told that one of his former coaches started a charity for underprivileged kids and used it as a way to ingratiate himself into vulnerable young fatherless boys for sexual encounters,? The failure of Paterno and university officials to act allowed Sandusky to continue molesting boys for years, which was borne out in court testimony leading to his conviction and incarceration. Posnanski was working on a book about Paterno and was well into it when the scandal broke. The book is as much about what made Paterno tick as anything else, and capturing complex characters is something Pacino does well. He played a conflicted pro football coach in Any Given Sunday, and Jack Kevorkian in the HBO film You Don’t Know Jack.

I just hope it ends with Paterno snorting a massive amount of cocaine. Go out with a bang, not a whimper: that’s the Brian De Palma way. 

Follow Tyler Coates on Twitter

‘Carrie’ Remake Gets Pushed Back for a Fall Release

Whether you’re a devout fan of Stephen King’s novel or Brian De Palma’s haunting 1976 film, the modern remastering of Carrie is sure to be anticipated. As Hollywood is wont to do, audiences are in store for a new spin on the cult classic of a shy high school outcast who taps into her newly discovered telekinetic powers to exact revenge on her bullying schoolmates. Helmed by Boys Don’t Cry director Kimberly Peirce, the film—which was previously set for a March release—has now been pushed back to next fall.

The October opening only makes sense, allowing the premiere to coincide with horror-mania leading up to Halloween, garnering a larger audience while building hype surrounding the project. For a girl of only fifteen, Chloe Mortez, who holds the titular role, has played some pretty fierce and diverse characters; so it will be interesting to see how she fares followng in Sissy Spacek’s iconic footsteps. With Julianne Moore and Judy Greer rounding out the cast, the talent is there, but in any case, it would be difficult to top the bloody gorgeous De Palma original.

Check out the new poster and official teaser for the film.


Five Of Your Favorite Novels Head To The Big Screen in 2013

With a slew of new page-to-popcorn films in the works, here’s a look at what will be making its way onto the silver screen next year.


French writer Émile Zola’s novel-turned-play Thérèse Raquin has been adapted for the screen many times, but this December we’ll get a taste of director Charlie Stratton’s take on the haunting classic. The psychological tale of affaires de coeur and betrayal centers on Thérèse, a young woman forcibly married to her first cousin, who soon begins a turbulent affair with her husband’s friend. After the lovers conspire to murder her husband, they find themselves haunted by his ghost as their love turns to fiery rage. Elizabeth Olsen takes the reins as Thérèse, with Jessica Lange, Tom Felton, and Oscar Isaac adding to the cast of tortured characters.


After Brian De Palma released his cult-classic adaptation of Stephen King’s novel in 1976, who knew there needed to be another one? But as Hollywood is wont to do, audiences are in store for a new spin on the bloody story of a shy high school outcast who taps into her newly discovered telekinetic powers to exact revenge on her bullying schoolmates. Helmed by Boys Don’t Cry director Kimberly Peirce, the film stars budding ingénue Chloë Grace Moretz in the titular role alongside Julianne Moore and Judy Greer in the new adaptation of one of the most frequently banned books in the U.S.


Like a boat against the current “borne back ceaselessly into the past,” F. Scott Fitzgerald’s most celebrated work of obsession and tragedy will make its way to the screen once again this spring. The long-awaited adaptation will reunite director Baz Luhrmann with Leonardo DiCaprio, as Gatsby, and stars Carey Mulligan as his unattainable love, Daisy. After being pushed from its December release to May, anticipation for the film has only increased, with audiences wondering just what Luhrmann’s theatrical aesthetic will add to the beloved tale.


Adapted from Joseph Delaney’s 2004 children’s novel, The Spook’s Apprentice, this 18th Century adventure film centers around a mystical young boy, Thomas, who becomes an apprentice to the local Spook (a cloaked man who travels the country fighting evil spirits for those who cannot) in order to learn the supernatural trade. Directed by Sergei Bodrov, the film will star The Chronicles of Narnia’s Ben Barnes in the lead role, with Julianne Moore as a cannibalistic, mischievous witch named Mother Malkin. Jeff Bridges and Alicia Vikander also join the cast.


Orson Scott Card’s science fiction thriller has been inching its way to the screen for years. First published in 1977 as a short story, the futuristic tale of alien warfare and adventure is set to hit theaters in November. Featuring Hugo’s Asa Butterfield and Little Miss Sunshine’s Abigail Breslin, the film tells the story of a gifted boy sent to a space-based military school to prepare for an alien invasion. The sci-fi classic will be directed by actor/director Gavin Hood, who leads Hollywood veterans Harrison Ford and Ben Kingsley into the dystopian future.

Terrence Malick, Brian De Palma, More In Venice Film Fest Lineup

Best start learning those vaporetto routes now—the Venice Film Festival has announced its lineup, and two of its most hyped selections have one very particular asset in common. Rachel McAdams stars in two festival headlining flicks, Terrence Malick’s To The Wonder and Brian De Palma’s Passion, playing a hometown friend of a man whose marriage falls apart in the former and stars alongside Noomi Rapace in the latter, a revenge thriller based on  the French film Love Crime. Harmony Korine’s teenage heist flick Spring Breakers, starring Disney Channel alumni Selena Gomez and Vanessa Hudgens alongside James Franco, is also in the competition. Non-competition entries include works from Jonathan Demme and Robert Redford. 

One surprising omission is Paul Thomas Anderson’s The Master, which generated hype with the release of its trailer last week, initially reported to be a likely hit at the festival but not in the final lineup. 

Opening the festival is one of its most anticipated non-competing films, Monsoon Wedding director Mira Nair’s The Reluctant Fundamentalist, an adaptation of the acclaimed 2007 novel by Moshin Hamid, in which a Pakistani man travels to America in pursuit of livin’ the dream, in so many words. The closer will be L’Homme Qui Rit from Jean Pierre Ameris, the most recent in a long line of adaptations of the classic Victor Hugo tale. 

The festival runs from August 29th to September 8th.