Friday, February 24, 2012

'Sinister' release date gets moved...


February 24, 2012
by Edward Douglas

Finding a release date can be tricky for any horror movie, though one has to figure that October is still the best month for the genre as seen by the success of the "Saw" and "Paranormal Activity" movies and dozens of others, including Marcus Nispel's 2003 The Texas Chainsaw Massacre remake. That's why it's kind of surprising that ERC is reporting Lionsgate has moved their upcoming reboot of The Texas Chainsaw Massacre 3D back three months from its original pre-Halloween release date of October 5 to the first weekend of 2013 with a release on January 4. The ink on that release date change hadn't even dried before Summit jumped on the now-open October 5 as the new release date for Scott (The Exorcism of Emily Rose) Derrickson's found footage movie Sinister starring Ethan Hawke and Vincent D'Onofrio.

Of couse, now that Summit and Lionsgate are essentially the same company, that release date switcheroo probably isn't as "sinister" as we've mae it sound and the newly-merged companies just decided that Sinister could get a nicer boost pre-Halloween (and pre-Paranormal Activity 4) and the first week of January has already seen a bunch of horror hits including The Devil Inside earlier this year, White Noise, and One Missed Call.

The move gives The Texas Chainsaw Massacre 3D a weekend all too itself whereas in October, it would have taken on Tim Burton's stop motion animated Frankenweenie and the action sequel Taken 2.

This is also good news for Todd Lincoln's long-delayed The Apparition starring Ashley Greene cause now it doesn't have such strong horror competition on August 24.

''The Cast of 'The Whole Wide World"'

The Cast of "The Whole Wide World"

by Kathleen Carroll

Robert E. Howard was a mama's boy from deep in the heart of Texas who dreamed up lusty tales about such swaggering macho heroes as Conan the Barbarian. A roaring success as a pulp fiction novelist, Howard was an eccentric loner who did not function well in social situations. Still, in 1933 the volatile writer met Novalyne Price, a prim young schoolmarm with writing aspirations of her own. Despite a mutual attraction they were never able to fully commit to each other.

Director Dan Ireland gently recreates the emotional highs and lows of this true-life story of unrequited passion in "The Whole Wide World." Howard and Price are, in Ireland's own words, "two people who love each other so profoundly they can't say those three words." The movie records each slight and rejection with such touching realism the audience can actually feel the pain and frustration of these would-be lovers.

Ireland has also chosen his cast wisely. Vincent D'Onofrio truly deserves an Oscar nomination for his combustible performance as Howard. Alternating between macho gusto and boyish tenderness he manages to be both intimidating and appealing. Newcomer Renee Zellweger exudes a spunky independence as Price.

Film Scouts caught up with both actors during a recent press junket. Having gained weight to play the beefy Howard, D'Onofrio was looking more like his handsome self. He summed up his career plan by saying "I've always tried to stay out of the limelight and just do my work."

At the point at which he might have become a star, the actor went to Europe in search of more challenging projects. "If I wanted to make movies like my father used to show me - like "Carnal Knowledge", these movies were only being made in Europe, so I went there until people like Bob Altman called me," he explained.

Although he has some regrets about not simply opting for "the money," D'Onofrio has built a strong reputation by taking on the most challenging roles. "I just like to push the envelope these days," he said. "Why not? I'm 37 years-old."

He was so committed to this particular project that he took on an additional role as the movie's co-producer. "It was good for me to learn that I could be an artist and a businessman at the same time," he concludes.

Howard and Price express their pent-up passion in a single kiss. A reporter noted that the kiss "had such promise." "That's because Renee and I are such great kissers," declared D'Onofrio. "Our kiss is pretty movie-stylish."

The other great kisser, Zellweger, wore a proper skirt and sweater to meet the press but her legs remained bare - a sure sign that she's still a country girl at heart. "Howdy," said this adorably unassuming Texan. She described her reaction to being hired at the last minute to play Price. "It wasn't just a film," she admits. "It's my dream come true. It was like fate dust was sprinkled over the whole thing."

Zellweger also seems to have been sprinkled with fate dust. Her work in "The Whole Wide World" helped to earn her a major role opposite Tom Cruise in "Jerry Maguire." Looking positively kittenish as she discussed Cruise, Zellweger purred "Yeah he's kind of starry isn't he?" But this future star, whose favorite word is "awesome," promised her listeners that "nothing's going to change for me."

'1997 Miami Film Festival Diaries'

1997 Miami Film Festival Diaries
Day Three

by Karen Jaehne

I'm still reeling around from yesterday's screening of "Guy" and laughing about all the fuss over Vincent D'Onofrio, who's trying to act like an ordinary dude. Here's the scoop on him. He's teamed up with Dan Ireland in a little production company. You may recall that they made "The Whole Wide World" before "Guy."

So Vincent is here to promote "Guy," and I go to his room to interview him. It was like walking through a wrinkle in time and running into Mrs. Whatsit as a photo-journalist. This strange little woman was begging Vincent to take off his shirt and stretch out on the bed for the camera. He sat down cross-legged and looked down to check his crotch. She began filming his shoes. Nice loafers but not Gucci, y'know? Anyway, she informs us that she writes erotic poetry and Vincent smiles and acts like this is just all too normal for words. I videotaped it, because it's only normal in the context of people pushing stars around at film festivals.

Other than that, they took the press to a fabulous spa for lunch. The menu had a breakdown of calories for each item, and we were given complimentary back-rubs and promised more if only we would come back for a day. My body could use it. Most of the press-bodies were in need, but time-time-time is not on our side. We ate and ran, but even Michael Musto looked longingly at the whirlpool and mud-baths we could have indulged in. Musto was at his boringly best behavior, and nobody wanted to be at his table after he stood quietly by for a lecture on the history of the spa and the jocks who frequent it. Why do we keep Musto around if not to turn around such situations? That's only a rhetorical question, Michael. We keep you around for your art.