Long awaited in the wake of his 2005 debut Brick, Rian Johnson's The Brothers Bloom is a magic trick of a film; the second it's over, you want to see it again so you can try to catch how you were tricked, but you also want to see it again so you can return to the joy and wonder of being wrapped up in the nimble, deck-shuffling hands of a born showman. Watching it at first, some of The Brothers Bloom's creative and thematic elements seem like they're on loan from Paul Thomas Anderson (opening narration by Ricky Jay, pop-whiz-bang camera work, the troubled-but-tender relationship between the two brothers) while others feel as if they've been cribbed from Wes Anderson (deadpan confessions, whimsical set design, a parallel-universe setting where people still travel to Europe by steamship). The truth is, as much as The Brothers Bloom may feel like it's cribbing from other films at first, this is Rian Johnson's movie, and even if my more dreary and discerning critical faculties told me the final act goes on, perhaps, a beat too long, my inner moviegoer was sitting bolt upright, smiling, bright-eyed and carried away.

Brothers Stephen (Mark Ruffalo) and Bloom (Adrian Brody) have grown up on the make, in a world of, as Jay's stage-setting narration puts it, "... grifters, ropers, faro fixers, tales drawn long and tall. ..." Stephen builds cons; Bloom gets close to the marks. Stephen's work on their scams is a weird, lucrative form of self-expression; as Bloom puts it, "My brother writes cons the way Russians write novels. ..." Bloom's work on their schemes is a weird, lucrative form of self-loathing; Bloom learns early on that playing a part means never having to be yourself, that he, when " ... being as he wasn't, could be as he wished to be." Stephen wants more. Bloom wants out.

Cinematical is excited to bring you these brand new exclusive images from The Brothers Bloom (see gallery below), which will enjoy a premiere at the 2008 Toronto International Film Festival this month. The film, which marks writer-director Rian Johnson's follow-up to the much-beloved Brick, stars Adrien Brody and Mark Ruffalo as "the best con men in the world" who, for their one last job, decide to take a beautiful and eccentric heiress (Rachel Weisz) on a trip around the world. The delightful Rinko Kikuchi (pictured in the gallery below) also stars. We here at Cinematical are big fans of Johnson's Brick (that kinda sounds weird, huh?), and have been looking forward to The Brothers Bloom for quite some time now. While those lucky ducks currently in Toronto will get to see the film early (we'll have our review soon), the rest of us will have to wait till it hits theaters on December 19.

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If I know our Eugene Novikov at all, his face is like mine in that it registers somewhere between the two pictured at the right when it comes to the news that The Brothers Bloom, writer-director Rian Johnson's follow-up to his nifty noir Brick, has been bumped back from October 24th (an admittedly crowded weekend) to a limited bow on December 19th, followed by a wide release on January 16th of 2009.

When the fairly reliable Box Office Mojo first mentioned the change, I balked at the thought, but now Johnson has confirmed it on his own message board, saying "There were a few reasons for the move: October and November are crowded as hell, it's a tough tough market, especially for a smart unique film like ours, and we'd have a week or two at the most to sink or swim. Whereas concentrating on a couple markets for awards consideration in December, then pushing the wide in the more open January slot just seemed like a better use of resources."

Wait -- what's that? Eugene gets to see it in a week's time up at Toronto? Excuse me, but I'm suddenly feeling much more like Bang Bang...

My general rule is: I don't walk out of movies. The last time I did so was in 2006 during the fairly wretched bar mitzvah comedy Keeping Up with the Steins -- but only because I was with a friend who wasn't into it; we were bored and I was embarrassed because I had suggested the film. I'm occasionally tempted to leave in the middle of a movie that's giving me no earthly reason to hope it will get any better, but something always keeps me in my chair. Often I'm at a press screening, where it's poor form to walk out. Even if I'm seeing a movie on my own dime, I'm usually driven by a sense of duty and completism. I like talking about movies, as you've probably guessed, and it doesn't seem legitimate to do so not having given the whole thing a chance. "Oh man, I despised Movie X." "Really? What did you think of the ending?" "I left halfway through." "Oh."

I've been doing some traveling, and am spending this weekend in San Francisco. Friday was a gorgeous day, but for various reasons I'm a bit behind in my movie-watching duties, so after exploring the city for a while in the morning, I decided to head to the theater for a double feature. The first thing I went to see was Swing Vote, which I found irritating and politically gutless but certainly watchable. My next choice: The Mummy: Tomb of the Dragon Emperor.

First things first: "From Page to Screen" is a new column I'm trying here at Cinematical. Each week I'll discuss in detail a book that serves as the source material for either an upcoming or a past film adaptation. In the case of forthcoming films, I'll talk about the prospects for the adaptation: the challenges of bringing the particular book to the screen, the casting, the plot, the literary intangibles that so often wind up missing from the resulting movies. In the case of past films, I'll discuss the adaptation's approach to its source: what changed, what stayed the same, what worked and what didn't. Oh, and I'll actually have read the books.

I never tire of repeating my simple philosophy when it comes to adaptations: books are not movies. What works on the page won't always work on the screen. To demand total faithfulness to the book is folly, and will usually lead to a crappy movie. (This is also the case, by the way, for "true stories" and biopics -- people's lives, no matter how interesting, don't always, or even often, make for good films.) But that, I think, makes my task here more interesting rather than less. What does it take for an adaptation to work -- as a film in its own right, or as a translation of the source material?

The idea for this came from a number of discussions I've had here on the site. People are passionate about the books they love, and protective of them. The adaptation process is fun to talk about -- and even more fun when you've read the book and can have an informed conversation. I hope you'll join me, and I plan to be active in the comment threads.

Nowadays, computer-generated imagery makes it possible to create just about anything the mind can conceive, but there is nothing quite like a man-made recreation of an ancient civilization to inspire awe. As Monika Bartyzel told us last month, Alejandro Amenabar has been busy preparing his next film, Agora, which takes place in Ancient Egypt. Rachel Weisz will star as an astrologer/philosopher battling to save "the collected wisdom of the world" as religious riots flare and threaten the fabled Library of Alexandria. Max Minghella will also star as her slave (nice work if you can get it).

Agora is being filmed on the island of Malta, and Times of Malta has a picture of one of the giant sets. (Click through for a large photo.) The article says that the production marks a series of firsts for the island, including the fact that "many Maltese are being employed in roles and crew positions that are usually taken up by foreigners."

Pre-production on the island began last October, with 76 shooting days scheduled. The English-language film is due to wrap by the end of June. Agora marks the long-awaited return to directing for Amenabar, who last made The Sea Inside. That claustrophobic drama was a change of pace for Amenabar, who previously had been known for making thrillers like Open Your Eyes and The Others. Agora is definitely his most ambitious production to date, but it sounds like it could be a promising combination of intelligent thrills and historical drama.

[ Via Latino Review ]

(ed. note: This post was accidentally published at 1AM, instead of 1PM, so we're re-publishing it at the correct time.)

I've been thinking about the largely negative response to Wong Kar-wai's My Blueberry Nights (6 screens), a film I quite liked. As of today it's at 43% on Rotten Tomatoes, though it opens wider this weekend (including here in the Bay Area) and more reviews are surely coming in. Most critics I've spoken with around here likewise didn't think much of it. What are the reasons for all this disappointment? The main reason has to do with its weight. It's a lightweight movie, a trifle, flimsy, vapid, thin, etc. Wong is considered one of the world's greatest filmmakers, a maker of "weighty" works of art, and so this "lighter" film is beneath him. It's a letdown, a step backward.

Well, I say that's nonsense. Many great filmmakers dallied in lightweight, lesser trifles during their careers, and it didn't make them any less great. Martin Scorsese has made lots of them. After Hours (1985) and The Color of Money (1986) may not pack the punch of Raging Bull, but they are quite enjoyable, and pure Scorsese. (His current Shine a Light, 277 screens, feels like a trifle.) Fritz Lang came to the United States from a position of great power and unlimited resources in Germany and found himself assigned cheap crime pictures. Yet few critics today would complain about the "lightness" of The Big Heat or Scarlet Street. Max Ophuls also made crime films in Hollywood (Caught and The Reckless Moment), and his reputation remains intact. Some consider John Ford the greatest American director of all time, and even though his goofball Donovan's Reef (1963) isn't counted among his classics, I love it just as much. It has moments of great beauty that reflect its maker's personality. My Blueberry Nights may not stand up to In the Mood for Love, but it's unquestionably a Wong Kar-wai film.

Cinematical has just received this lovely exclusive poster (click on above image to enlarge) for the new film My Blueberry Nights, starring Norah Jones (in her feature debut), Natalie Portman, Rachel Weisz, Jude Law and David Strathairn. The film, which is just exploding with beautiful colors (see above poster for a small taste), marks famed director Wong Kar Wai's English-language debut -- and it centers on a young woman (Jones) who embarks on a soul-searching trip across America, running into an assortment of offbeat characters along the way. Definitely one of my favorite posters of the year so far -- once you move away from the dazzling color scheme, you're then left with the gorgeous faces of Weisz, Portman and Jones. Mmm, I can stare at this one all day long.

For more on My Blueberry Nights, feel free to check out James' review from last year's Cannes Film Festival, as well as the movie trailer over on Moviefone. My Blueberry Nights hits theaters (in limited release) on April 4.

Back in February, I briefly mentioned through a casting bite that Alejandro Amenabar was gearing up for his next film, and had cast Rachel Weisz and Homayoun Ershadi from The Kite Runner. Now Variety has fleshed out the whole project. It's called Agora, the filmmaker wrote it with Mateo Gil, and it will be Amenabar's second English-language feature, after The Others.

Rachel Weisz and Max Minghella (Art School Confidential) star in the film, which takes place in Ancient Egypt. More specifically, Weisz will play the astrologer-philosopher Hypatia of Alexandria, in Roman Egypt during the fourth century. "Trapped in the Library of Alexandria as religious riots flare on the city's streets, Hypatia battles to save the collected wisdom of the ancient world. Meanwhile, her slave Davus (Minghella) is torn between his love for his mistress and the freedom he could attain by joining the rising tide of Christianity." Aside from Ershadi, Oscar Isaac, Ashraf Barhom, Michael Lonsdale, and Rupert Evans have roles.

Amenabar plans to use a "hyper-realist approach" to bring Alexandria to life, and says: "We want the audience to see, feel and smell a remote civilization as if it were as real as the present day." To me, it definitely sounds worth is, and is certainly better than Weisz doing a million Mummy sequels. Are you ready to get dirty in Ancient Egypt?

Bits of casting for the new week, all courtesy of Variety:

• Last year, Angel Oquendo had bit parts in 3 films -- King of California, Ocean's Thirteen, and 1408. Now he's picked up a gig with Michael Keaton in The Post Grad Survival Guide. This is the pic I told you about back in December, which stars Alexis Bledel as a college grad who moves home trying to figure out her life -- and while that doesn't sound like the most original premise, the movie also cast Michael Keaton and Carol Burnett (who will be playing her family), which makes it all a heck of a lot more interesting... Almost as interesting as another film Oquendo is working on -- The Slammin' Salmon. I really, really love that title for some reason.
• Next up is Christy Scott Cashman. It seems she's grabbed a role in Abel Ferrara's new film -- Chelsea on the Rocks. This is a tribute to the Chelsea Hotel in New York City -- a building that has already inspired a whole slew of films. (You can check out a description of the Hotel, plus some stills from production at Twitch.) It's listed as a documentary, but looks to be maybe a mixture of both drama and doc. Christy is playing Vera Mendelssoh according to IMDb, which I assume is a typo for sculptor Mendelssohn, which makes her the neighbor of Sid & Nancy, and who heard witnessed some of the events surrounding Spungen's death.
  
• Finally, we have Homayoun Ershadi. Most recently, he played Baba in The Kite Runner. Now he's going to star along with Rachel Weisz in Agora, the latest film from Alejandro Amenabar. Not too much is being said about the feature thus far, unless you can read Spanish and check out the myriad of links on Google. However, this has got two solid stars and comes from the man behind Abre los ojos, so I'm intrigued. Production begins next month in Malta.
  

Several things conspire to make Definitely, Maybe seem a dicey proposition at first glance. There's the rarely-inspiring presence of Ryan Reynolds, whose film career has, up to now, moved between mediocre comedies and mediocre action and horror films and served mostly as a demonstration of the phenomenon of 'failing up.' There's also the gimmicky nature of the pitch giving off warning signs, as divorcing dad Reynolds tells his daughter Abigail Breslin the story of his life before he got married, shielding names and facts so she can't figure out which of the three women (Isla Fisher, Elizabeth Banks or Rachel Weisz) he knew and loved when he was single came to be her mother. "I like it," Breslin says early in the film, appraising Reynolds's efforts. "It's like a love story-mystery." And even that's a somewhat off-putting moment; Gee, kid, thanks for pointing that out for us.

But Definitely, Maybe, written and directed by Adam Brooks, surprised me as it unfolded, and got around my initial reservations with its mix of good humor and grace. Not only is Reynolds an appealing lead here -- possibly because the boyishness that's undercut his other work is an integral part of his character – but Definitely, Maybe also has some grit and gristle under the glib gimmick of the mommy-mystery hook. As Reynolds explains the long and winding road of what happened and when, Brooks's script mostly doesn't shy away from the tough stuff, and it doesn't paint Reynolds as some perfect, hapless everyman undone by random chance; he makes mistakes, and he pays for them, and he tries to set things right. Reynolds is normally light and charming enough on screen, but there's something new in his performance here, as his inner feelings keep coming into view behind his smile.

Empire has the exclusive first look at the new poster for Wong Kar Wai's My Blueberry Nights. While the first poster release chose to put Rachel Weisz front and center, the latest one-sheet lets you know right from the get-go that this film is an ensemble in every sense of the word. The story centers on a young woman (played by Norah Jones in her acting debut) who wastes away hours in a local cafe run by a romantically philosophical type named Jeremy (played by Jude Law). The story then follows our broken hearted gal as she rambles about the country, coming into contact with an alcoholic cop and his wife (David Strathairn and Rachel Weisz) and a gambling con-artist as played by Natalie Portman.

My Blueberry Nights marks Wong Kar Wai's first attempt at an English language film, and will also be one of the few films he has shot without the services of his usual cinematographer, Christopher Doyle. Instead, the famed director hired Darius Khondji, who has worked with Woody Allen (Anything Else) and David Fincher (Panic Room). The film premiered in Cannes back in May, and while reviews were mixed (mainly directed at Jones' acting abilities), the overall impression was that the film marked some new territory for the director -- you can read James' review here. Wong Kar Wai is a master at conveying love and longing for another person. So, even though there have been some changes in his usual methods, you know you are still in some pretty capable hands. Plus, if you consider the cast and the skill of people involved in the production, it would be a shock if it didn't all somehow work. My Blueberry Nights is set to open for a limited release on February 13th, 2008.

Whether or not you're going to enjoy Fred Claus pretty much boils down to one easy question: Do you like Vince Vaughn? If you find Mr. Vaughn's on-screen fast-talking, swagger-walking good-man-but-bad-boy shtick irritating or tedious, Fred Claus will be as enjoyable as a heaping plate of undercooked salmonella-laced turkey. If you find Mr. Vaughn to be a lively, animated figure who livens up pedestrian material with his mere presence on-screen, you'll find Fred Claus a well-intentioned, family-friendly, big-and-shiny holiday comedy.

And while Fred Claus is hardly a one-person show -- it's got a nice, deep back bench of supporting players that keep things moving along in the right key -- it would be hard to deny that star (and producer) Vaughn is the quarterback of the team. Grafting modern family dynamics psychology onto ancient folklore, Fred Claus opens with the youth of the Claus boys, as young Frederick attends the birth of his new brother Nicolas in an unnamed semi-medieval Euro-style thatched hut home. Nicolas is a lovely baby, and grows to be a kind and gentle child; so kind and gentle, in fact, that Fred can't help but look a little shabby in comparison. We then zoom forward an unspecified number of years, as our narrator explains that the attainment of sainthood freezes you and your whole family in time. Santa is ageless; so is Frederick ...

The next edition of the Sundance Film Festival doesn't start until January 17 -- 80 days from now -- and the program won't be officially announced until next month, but indieWIRE says the first deal has already gone down. Sort of. The article by Eugene Hernandez reports that Rian Johnson's The Brothers Bloom has been picked up for North American distribution by Summit Entertainment. indieWIRE comments: "Many expected [the film] would go on the market at the Sundance Film Festival early next year. The unspecified eight-figure deal would have made major headlines had the sale played out in Park City early next year." Summit reportedly bought the rights after reading the script and watching just two minutes of completed footage.

Hernandez talked separately to producers Ram Bergman and James Stern, among others. Stern works with Endgame Entertainment, which financed the $20 million production. Bergman described The Brothers Bloom as a "globe trotting adventure" in which "a young heiress enters the lives of two sibling con men." Director Rian Johnson previously made the highly acclaimed Brick, which premiered at Sundance in 2005.

Cinematical has been covering The Brothers Bloom for more than a year. Martha Fischer wrote about the first tantalizing details and then followed up with more plot information. Erik Davis wrote about the casting of Rachel Weisz, Monika Bartyzel told us that Adrien Brody and Rinko Kinkuchi had been added and then advised that Mark Ruffalo had joined the cast.

With the pressure off to complete the film in time for Sundance -- Bergman told indieWIRE the film is already profitable -- the goal is to finish post-production by February. The film's official site states simply that production in Belgrade has wrapped: "We're all pretty tired, but very very happy. More to come." Look for The Brothers Bloom sometime next year.

Looking at this new promo still for The Mummy: Tomb of the Dragon Emperor, I now realize what the first two Mummy movies were missing: martial arts! Never mind the fact that Jet Li looks awesome in this shot. I'm just excited because there's no possible way that Brendan Fraser (aka "Rick O'Connell") is going to get out of this fight alive. Imagine how great this sequel would be if Fraser got his ass kicked. Yeah, unfortunately, Fraser probably does win the battle somehow. Or if he does get served in this scene, he will win out in the end. In that case: poor Jet Li. How could he ever live with himself if he's seen on the big screen defeated by the guy who played George of the Jungle and Dudley Do-Right?

The photo comes courtesy of Rob Cohen, the sequel's director, who has been blogging the production ever since shooting began over a month ago. Since, we have seen a photo of "the Terracotta Army" and a photo of Maria Bello, who took over the part of "Evy" after Rachel Weisz dropped out. There have also been some videos on the blog, including footage of Fraser shooting at a river, falling out of a tree and throwing himself in some mud. And if you are really excited about the martial arts, you will want to check out the video about the stunt team, which doesn't feature any actual fighting but is still interesting enough. Say what you will about Cohen's directorial skills, he may in fact be better than Stephen Sommers at least, and The Mummy: Tomb of the Dragon Emperor is sure to be the coolest installment of the series. Unless, that is, they decide to follow tradition and give us some really terrible CGI at the end. Pray that Jet Li doesn't end up rendered out of sand in the end.