Cinematical

Ride 'em, cowboy! My pick of the week, Marquette Williams' Buckle Brothers, is not like any other Western you've seen. For one thing, it's a documentary. For another, it's about four young people from the mean streets of South Central Los Angeles and Compton, California, trying to make it on the modern-day Bill Pickett Rodeo circuit. They're an engaging, tenacious group, determined to rise above their surroundings and achieve something on their own -- and they love horses like nobody's business. The doc is compassionate but unflinching in showing the young bull riders' triumphs and failures. It's the antithesis of slick filmmaking.

The DVD is available from Indican Pictures. The film's official site has a gallery, trailer, and details on the featured riders: Lil Ron, Yah-Ya, Jazz and Mike. Director Williams and producer Marcus Franklin made the doc while working day jobs; the doc is truly a labor of love. The two filmmakers recently completed the thriller Unspeakable.

"Writer-director Jeff Nichols's Shotgun Stories is a tale of the South -- the flat fields and summer heat of Arkansas, where people struggle with the past every day," wrote James Rocchi in his review. "At heart, [it's] a film about people who discover what they have to let go of, and who confront the terrifying possibility of hope."

Jeffrey M. Anderson was slightly less enamored, but still quite complimentary of this tale of two families (with the same recently-deceased father) who come into conflict. Liberation Entertainment's DVD includes an audio commentary with Nichols, an audio track containing the isolated score by the band Lucero, production stills, and trailers. The film's official site has a trailer, stills, cast and crew information, and more.

After the jump: a family drama, and a John Sayles classic finally emerges.

A couple of weeks back, I wrote about the imminent release of three-quel Public Enemy Returns. Hopes were high that the Korean-made crime action comedy would enjoy a measure of success and thus buoy local filmmakers; Korean audiences have been avoiding local product for months.

Public Enemy Returns did indeed have a bountiful opening, grossing more than $7.2 million in its premiere weekend and smashing Get Smart, according to Box Office Mojo. In its second weekend, though, it fell victim to international action powerhouse Wanted, demonstrating that curving bullets and the even more curvaceous Angelina Jolie need fear no borders. Still, Public Enemy Returns has nothing to be ashamed of -- it made $4.7 million to Wanted's $5.4 million -- and provides hope that upcoming Korean movies such as The Good, the Bad, and the Weird, Sunny, and Eye for an Eye will find favor locally in the coming weeks.

Meanwhile, Kung Fu Panda has been warmly embraced by China, in the words of The Hollywood Reporter. With $14 million in box office receipts in its first ten days, the animated animal adventure has already been declared "the most successful foreign animated film in China," as claimed by a government news agency. If accurate, that gross would place the film practically neck and neck with Iron Man and the Chinese-made Kung Fu Dunk for the #3 box office position for the year so far. I haven't seen Panda yet; is this is a good thing or a bad thing from a cultural and/or cinematic standpoint?

Despite dropping more than 50% in its second week of release, Kit Kittredge: An American Girl (Picturehouse) outdrew all other specialty releases over the weekend, earning $21,200 per screen at five theaters, according to estimates compiled by Box Office Mojo.

Directed by Canadian indie veteran Patricia Rozema (I've Heard the Mermaids Singing, When Night is Falling), Kit Kittredge has clearly benefited from a devoted fan base that convinced thousands of their parental units to fork over $20 per ticket -- which, to be fair, includes a limited-edition t-shirt -- to see the movie in advance of its wide release tomorrow. That's a very good performance when you consider its main competition was not, actually, a French-language flick that skewed very adult, but actually a heavily-advertised animated film.

Catherine Breillat's The Last Mistress (IFC Films), starring Asia Argento, took in $17,600 per screen at two locations, which probably owes as much, if not more, to the name recognition of Argento as that of the often-confounding Breillat.

Let me tell you about a movie that outraged, angered, and sickened me -- and why it demands your attention.

The Free Will begins, basically, with a long, hideously-detailed and violent rape scene. Theo (Jürgen Vogel, who also produced and co-wrote) is convicted of his crime; the bulk of the film deals with his post-prison life, his struggles with rehabilitation, and his relationship with Nettie (Sabine Timoteo), seemingly a victim in waiting. I have strong reservations about The Free Will: it's filled with ugly, offensive actions, and I felt like I was dragged through the mire for 163 minutes for little reason other than to shove my face in the muck. Still, there is no denying the power of the performances or the talent of director Matthias Glasner. It is a provocative piece that inspires deep thinking about important issues.

Michael Guillén wrote a long and thoughtful review at The Evening Class -- my comments above are adapted from my response to his review -- which may help you decide whether to rent or buy The Free Will, which is out on DVD today. Benten Films has quickly developed a very fine reputation for their releases, so expect a good-quality transfer. Their edition includes an audio commentary by Glasner and Vogel, the original theatrical trailer, and a new critical essay by Time Out's David Fear.

"I am the other 7 foot Aussie giant actor," Conan Stevens commented on Friday in response to my recent post on the Thai action movie Somtum. That's the one starring Nathan Jones, a 7-foot tall Australian wrestling strongman turned actor. Jones stars as Barney Emerald, a gentle-spirited non-fighter who learns Muay Thai and encounters crazed foreigners and stolen diamonds. One of those "crazed foreigners" is none other than Conan Stevens.

Stevens linked to his entertaining blog, in which he writes about the launch of the movie in Thailand. He relates funny stories about the premiere showing for cast and crew, and admits that he and a fellow actor were more interested in seeing how they came across in the movie than in the movie itself, which is entirely understandable. Somtum was, unfortunately, not a big hit, but as Stevens notes, it was competing against several big Hollywood releases.

He says that production company Baa Ram Ewe is targeting overseas markets. I'd expect a DVD release in Thailand within 3-4 months, judging by how long it took previous action smash Chocolate to make its way to DVD. Stevens says the dialogue in Somtum is about half English, half Thai, so fans may still want to pick up the Thai DVD even if it doesn't have English sub-titles. Stevens' site is jammed full of good stories and photos, so check it out to learn more about making movies and living life in the "Land of Smiles."

I noticed an unusual number of young girls clutching dolls at a multiplex on Saturday afternoon. This made me very nervous. I know it's summer and school's out, but the early Saturday crowd tends to be non-teenage people like me who try and catch up with the latest Hollywood releases without the distractions of the Friday/Saturday night teen crowd. What were all the young girls coming to see? Kung Fu Panda? Get Smart? Sex and the City?

Nope, the hordes of girls were lining up politely to see the latest trendy indie release: Kit Kittredge: An American Girl. One of the last three releases from distributor Picturehouse, which is due to shut down completely very soon, Kit Kittredge may be based on a doll, yet has further indie cred thanks to Little Miss Sunshine star Abigail Breslin. And maybe all those little girls will grow up to write their own Juno some day? In any case, the film opened in five theaters in five cities, two weeks in advance of a wide release, and grossed a super impressive $44,600 per screen, according to estimates compiled by Box Office Mojo.

Picturehouse also scored with another one of their last-gasp releases, the Mongolian war-mongering Mongol, which expanded to 94 screens and turned in a muscular performance of $7,914 per screen.

With the pending release of the new version of Get Smart, and many fond childhood memories of the original series, I thought I would assemble a list of TV spies who made great movies. Unfortunately, I was confronted with a mountain of evidence that international men and women of mystery have suffered horribly in their transition to the big screen.

That conclusion sounds counter-intuitive. After all, a movie can focus on a single defining story in a spy's life, while a television series, by its very nature, must include many routine episodes that fit into a familiar formula. The movie can have a much bigger budget, allowing for a variety of international settings, while the TV show often takes place in just one or two locations on the back lot.

But I think the best TV spies were successful because the producers made sure that the characters were the stars. Two-shots and close-ups of people talking work really well on the small screen, and sharp, well-written dialogue is always a bonus. Just a list of character names invokes pleasant nostalgia, while the movie versions have, for the most part, justifiably faded into oblivion.

1. Wild Wild West

Two words: Giant spider. Need I say more?

Forget about Kung Fu Panda. Wash the memory of Forbidden Kingdom out of your brain. Ignore the trailer for The Mummy: We Love China, Yes We Do! (or whatever it's called). The real deal is on view this weekend as the New York Asian Film Festival opens for business.

The 7th edition of the festival kicks off tomorrow afternoon at the IFC Center in Manhattan with the North American premiere of Masato Harada's The Shadow Spirit. The first evening presentation features the world premiere of Ryo Iwamatsu's Then Summer Came, with the director in attendance.

This year the festival will show 43 movies, plus two short film programs, their most ambitious outing yet. Organized and presented by Subway Cinema, a "New York-based film programming, exhibition and marketing collective," as they describe themselves, the selections lean toward the pop side of Asian film culture, which happens to be my favorite kind; in fact, I've already written about The Butcher and Public Enemy Returns.

If you're a New Yorker, this should be etched on your viewing calendar, but even if you're an outsider looking in, like me, the program notes are very much worth reading. To give you a further taste, check out our gallery, and then visit the NYAFF site to read and see more about one of the very best festivals in the world.

I'm hungry for horror. The Strangers was OK, but The Happening was a major disappointment and nothing else is scheduled until August 1. That's when Ryuhei Kitamura's Midnight Meat Train, starring Bradley Cooper, Vinnie Jones and Leslie Bibb, is now set to open, delayed from May 16. But will you get to see it?

Shock Till You Drop reported last week that Lionsgate planned only a limited, 100-screen release in major cities, followed by a quick release on DVD, thus denying many horror fans the opportunity to see the film on the big screen. Someone suggested a viral campaign to get a wider release, which has now been endorsed by the man who wrote the story on which the movie is based: Clive Barker.

As quoted at The Official Clive Barker Resource, he says: "I am very excited about this possibility and I would passionately encourage everybody who cares about my work to use this chance to change the minds of the folks at Lionsgate. ... I really think, this late in the day, that grassroots support for our movie could significantly improve our chances of reaching a much bigger audience theatrically. The picture is worth the effort, I believe."

With three wide releases already scheduled on August 1 (The Mummy: Tomb of the Dragon Emperor, The Rocker, Swing Vote), it's a tough sell, but I'd love to see it happen. A thread at the IMDb boards has contact information.

[ Via Bloody Good Horror ]

South Korean filmmakers are facing a box office crisis. "Local movies accounted for just 7.8% of the South Korean box office in May," The Hollywood Reporter noted, "the lowest level since records were started in 2000." Domestic film admissions are only half what they were two years ago. Therefore, hopes are high that tomorrow's release of Public Enemy Returns will start to lure audiences back into theaters.

The original Public Enemy was a box office hit in 2002. Sol Kyung-gu starred as Detective Kang, an anti-heroic cop chasing a family man turned killer. Mixing comedy with bloody action, director Kang Woo-suk made a dark, funny and smart film, according to koreanfilm.org. Kang next made the terrific real-life drama Silmido (2003), the disappointing sequel Another Public Enemy (2005) and the poorly-received Hanbando (2006).