Review: 'Iron Man 2' Falls Flat, But Isn't A Disaster

Two years on from the release, and immense success of Jon Favreau's "Iron Man," expectations are very different for the sequel. Star Robert Downey Jr. is one of the biggest movie stars on the planet, the character has become the centrepiece of one of the most ambitious multi-film plans ever attempted, and, after the first film proved to be one of the most satisfying blockbusters of recent years, the filmmakers are going in with immense goodwill from their audience. Can it possibly match them?

The first film ended with Tony Stark (Downey Jr.) revealing to the world his secret identity as Iron Man, and (if you stayed past the credit) being approached by the mysterious Nick Fury (Samuel L. Jackson) to join something called 'The Avengers Initiative.' Aside from a brief opening scene that runs simultaneously with the end of "Iron Man," the sequel picks up six months later with Stark enjoying his celebrity, but suffering from potentially fatal blood poisoning due to the 'arc reactor' that powers his suit.

That's only the start of his problems, however, when he's attacked at the Monaco Grand Prix by Ivan Vanko (Mickey Rourke), who has a long standing grudge against the Stark family, and has managed to build himself an arc reactor of his own. He just about survives, but rival CEO Justin Hammer (Sam Rockwell) takes an interest in Vanko, and busts him out of prison to help him build suits to rival Iron Man. There's plenty more going on too -- Stark's made his assistant Pepper Potts (Gwyneth Paltrow) the new CEO of Stark Enterprises, he's falling out with best friend Jim Rhodes (Don Cheadle, replacing Terrence Howard), and has hired an enigmatic new assistant (Scarlett Johansson), while Nick Fury's still in the picture as well -- you do certainly get your money's worth of plot.

Many of the first film's strengths have been replicated; Downey Jr.'s still the most offbeat, entertaining superhero lead ever, his chemistry with Paltrow is electric, and Favreau's direction is mostly bang-on. In some ways, it's even an improvement on the first film -- the action sequences are better executed (although we missed the Spielbergian feel of some of the beats within the action scenes in the original), while Rourke and, in particular, Rockwell are both terrific, the former eccentric and menacing, the latter playing Hammer as a sort of B-list version of Stark, torn up with jealousy and self-loathing.

The trouble is, it also has many of the same flaws, but magnified. As relentlessly likable as the first film was, the script was the weak link; a beat-for-beat redo of "Batman Begins," which, like that film, fell apart in its third act. For the first 40 minutes or so, it looks like scribe Justin Theroux's cracked it -- the film has a nice propulsion to it, as the pieces move around the board. The trouble is, once Rourke's been defeated once at the end of the first act, the film loses any sense of momentum and threat, and it's down to the villains. Hammer is unethical in his means, but there's nothing particularly nefarious in what he wants to achieve -- he's trying to land a defense contract, there's no masterplan. Vanko does have his own agenda, but it's revealed so late in the game that it he mostly comes off as tech support.

With the villains never really feeling like a threat, Theroux tries to make the drama more internal, with Stark desperately searching for a cure; confronting his own mortality, he becomes increasingly self-destructive. Except because Downey Jr.'s so light and funny throughout, there's never any doubt as to his survival, so again, it never feels like anything's at stake. As a result, much of the film relies on two rival groups working on unconnected inventions in separate labs, and it's pretty dull. Similarly, Stark's such a badass in the Iron Man suit, dispersing every threat he meets almost instantly, that Theroux keeps contriving ways to keep him out of it, although you understand why once you reach the film's final sequence -- an entirely CGI shoot-em-up that you don't care about the outcome of.

It's certainly overstuffed (although comparisons to "Spider-Man 3" are misplaced; it's infinitely better than that disaster), and could have stood to have lost at least one subplot. The Avengers stuff in particular seems unnecessary, as it doesn't really move the Marvel end game any further on, and Jackson's performance is almost close to self parody (although surprisingly, Scarlett Johansson acquits herself quite well, even without being given much to do).

Considering the usual quality level of the summer blockbuster, "Iron Man 2" may well turn out to be one of the more entertaining entries of the season, despite all that -- the semi-improvisational feel brought by Favreau and Downey Jr. still works, and the film, like last year's "Star Trek," glosses over its weaknesses with wit and charm. But if Marvel are serious about building and sustaining the audience for their cinematic universe, they need to make sure that the stakes are high enough to justify the stories being told (hiring Joss Whedon for "The Avengers" is a good start), and most importantly, need to defer to the quality of the scripts, rather than to their pre-announced release dates. [C+]

'The Avengers' Shooting In Spring 2011? Says Potentially Overbooked A-List Star Robert Downey Jr.

-Doing press for "Iron Man 2," Robert Downey Jr. was cornered with Marvel movie questions, revealing that he thinks the studio is looking at a spring 2011 start date for "The Avengers" (which fellow Avenger Scarlett Johansson cleverly hints at as well in this interview). Original reports suggested an early 2011 shoot, but this potential new timetable would give the highly-in-demand Downey a chance to shoot another film between "Avengers" and the back-to-back rush of "Sherlock Holmes II" and maybe "Gravity," if he can swing it (doubtful, that one feels like a 2012/2013 film). Frankly, we'd prefer a long nap ourselves.

-The mediocre action directors' merry-go-round continues, as Dwayne Johnson hooks up with Simon West ("Con Air") for his upcoming kidnapping thriller "Protection." Meanwhile, the once-relevant John Singleton, currently shooting "Abduction" with Taylor Lautner, will produce and direct "Layover," about an ex-con who has to save his kidnapped family during a seven hour flight layoff. Extra dramatic irony points for the reader who actually kidnaps both directors before they inflict these movies on us.

-Wes Craven dishes on the upcoming "Scream 4," relishing the chance to return to the characters of the series so long after the original trilogy, as if it were a horror version of the "7 Up" series. He also confirms if the film is a success, he's onboard for two more sequels. The official teaser poster was also released, and its the epitome of creativity.

-"Glee" actress Dianna Agron has signed on to "I Am Number Four" as the female lead, a human high schooler who falls for an alien-in-disguise played by Alex Pettyfer. Sharlto Copley and Teresa Palmer co-star for director DJ Caruso, who's being supervised by producers Michael Bay and Steven Spielberg. Why does that particular working relationship still exist?

-In an interview with MTV, producer Lorenzo di Bonaventura all but throws the planned "G.I. Joe" sequel into the 2012 tentpole gangbang, discussing the evolution of the script (ha!) and the possibility of shooting in 3D.

-Here's a first look at Hank Azaria as the villainous Gargamel in the upcoming "The Smurfs," courtesy of Comingsoon.net. Breathe easy.

-Luc Besson is taking the "Transporter" franchise to the small-screen, with a $4 million-per-episode commitment to an international action series using the name of the Jason Statham action series. We can't wait for the movie adaptation.

-Still without a domestic distributor, Joe Dante's 3D kids' adventure film "The Hole" nonetheless has an international trailer. We had NO idea "From the director of 'Small Soldiers'" was that much of a selling point. Not to be outdone, the 3D sequel/remake to Dante's "Piranha" also released a trailer, and we've gotta say, knowing Christopher Lloyd is back hamming it up on the big screen makes us feel all warm inside our little goblin hearts.

Guided By Voice's Bob Pollard To Score Pete Rose Doc '4192'; Trailer Now Online

Pitchforkmedia has revealed that the extremely persistent and productive indie rocker Bob Pollard will score the film of legendary, scandalous baseball player Pete Rose. The film, titled "4192: The Crowning of the Hit King," will follow Rose's controversial career as an amazing baseball player and coach. Pollard will use instrumental versions of pre-existing songs, with an all new song being used for the main theme which he describes as being "five minutes long and building up to a big crescendo." The man is no stranger to sports, being a total jock in high school and recently was added to his high school's sports Hall of Fame. When questioned about Rose's disqualification into the Baseball Hall of Fame, Pollard replies "I think [he] got a raw deal... He did what he did but his accomplishments stand for themselves. If I were Pete Rose, I'd be like, 'Fuck your Hall of Fame.' But obviously it's important to him, so he should be in it if that's what he wants."

For those who don't know who Rose was, he was a player from 1963-1986, and managed his first and final playing team, the Cincinnati Reds, from 1984-1989. He was an extremely hard-working player, nicknamed "Charlie Hustle," and became one of the most versatile athletes in the game. It was discovered that Rose had been betting on games while managing and playing for the Reds, which lead to his being banned from baseball and disqualified for eligibility in the Baseball Hall of Fame. The title of the film refers to the 4192nd hit of his career (not the number of albums Pollard has released), thus destroying Ty Cobb's hit record, with Rose later burying it after retiring with 4,256 hits. The film will be directed by Terry Lukemire, who is no stranger to this kind of film, as his resume his filled with movies about sports and people who yearn for fame including "Rebound: A Basketball Story" and "King of Karaoke."

A little digging found the trailer on the film's official site. Judging by the trailer, those not already knowledgeable or interested in Rose's story, probably won't find the film all that compelling. The style is very straight-forward, with photos and videos over interviews. One recent film to use this simple technique successfully was "Tyson," as the ex-boxer told the story of his life in series of candid interviews. During the trailer, there are hilariously awkward shots of the now-aged Pete Rose in a black room, with a baseball bat, grimacing at the camera. He even attempts to hit it at one point. Uh. The trailer also mentions nothing of the gambling controversy, which is easily one of the most fascinating and contentious issues surround Rose's legacy. We surely hope this is a warts and all biopic, and not an attempt to present a revisionist history of Rose's career.

"4192: The Crowning of the Hit King" will premiere in L.A. on July 9th, though there is no word yet on when the film will be distributed wider.

Sly Stallone Says "Rambo V" Dead, Wants To Do An 'Expendables' Sequel

"I think Rambo's pretty well done. I don't think there'll be any more. I'm about 99 percent sure."

So ends the long journey of a pop culture icon. Despite long-standing speculation that Sylvester Stallone would write, direct and star in a fifth film in the "Rambo" series later this year, the man himself has finally come clean to Empire Magazine about his desire to retire one of his most beloved characters. Stallone had already negotiated with Millennium Films about a follow-up to 2008's "Rambo," which brought in $113 million worldwide on a minimal budget, but when talking to the press, the plot kept changing to the point where it seemed Stallone didn't have a handle on where to take the character himself. Among the storylines discussed were an action picture in Rambo's Arizona home, a child-trafficking drama in Mexico, and a sci-fi-tinged approach featuring Rambo leading a team of operatives against a genetically-altered beast, a twist loosely based off the James Byron Huggins novel "Hunter."

Stallone probably realized he was tempting fate already with 2008's "Rambo," which came twenty years after the previous installment, showing the then-61 year old mowing down approximately 236 Burmese pirates. At 92 minutes no less, somehow the shortest of the "Rambo" films, which began with 1982's "First Blood," a movie about a brutalized Vietnam vet in a small town and adapted from the 1972 novel by David Morrell. John Rambo was killed in the book and in an early cut of the film, but the studio saw franchise potential and kept the misunderstood musclehead alive for a future installment, despite the questionable accessibility of a depressed, embattled, monosyllabic soldier.

The studio wasn't the only one who saw him in a different light. Given a new lease on life original author Morrell wasn't willing to grant, Stallone took ownership of the character by co-writing the second and third films with James Cameron and Sheldon Lettich, respectively. Rambo went from being a societal outcast to a secret military weapon thrust into action, even helping the Mujahedeen get out from under Russian rule in "Rambo III" (gee, thanks a lot, Rambo!). The character was soon co-opted as an unofficial mascot for military foreign relations, with President Reagan proudly flaunting a banner that read, "Rambo Is A Republican!" Long distanced from that political affiliation, Stallone wrote and directed the fourth "Rambo" on his own, featuring the character as an apolitical do-gooder struggling to find peace with his old age.

As far as franchise storytelling, John Rambo's arc is fascinating from a sociopolitical context, even if there's something a bit cynical about the character shedding his politics and embracing his inner animal by the time we've reached the "Rambo" climax. We can't say we're sorry to see the character go, as the final installment brought the character to a natural endpoint, but the idea of Stallone trying to top the overwhelming carnage of the last film at such an advanced age definitely sounded appealing in a guttural, primal kind of way. According to Stallone, who's probably only got two or three more action films left in him at best, he's more interested in sequels to "The Expendables." "We're already working on an [Expendables] sequel," he said. We bet he's already begun to fantasy-cast too.

Watch: Gorgeous Trailer For Xavier Dolan's Un Certain Regard Entry 'Les Amours Imaginaires'

The trailer for Xavier Dolan's sophomore effort "Les Amours Imaginaires" has arrived, and it looks utterly gorgeous.

The brief teaser, scored to French chanteuse Sheila's "Bang Bang," doesn't waste any time showing off Dolan's recognizable skill behind the camera. With lush colors, an eye for costume design and tackling a complex love story, you would be forgiven if you mistook it for a trailer for a Pedro Almodóvar film. The film tracks the love triangle between two friends, Francis and Mary, as they fall in love with the same guy.

Dolan won three awards last year at Cannes -- SACD Prize (Director's Fortnight), Prix Regards Jeune and CICAE Award -- for his debut film "I Killed My Mother." "Les Amours Imaginaries" will compete in the Un Certain Regard programming of the festival this year, and will open in Canada on June 11th. There is no U.S. distributor lined up at this time.

--Written by Kevin Jagernauth

Rumor: Tommy Lee Jones To Appear In 'Captain America'?

Will Tommy Lee Jones serve for duty during this summer's Marvel production, "The First Avenger: Captain America," starring Chris Evans as the titular WWII star-turned-eventual-super hero?

That's the rumor being propagated by UGO, which is slightly strange if only because it's hard to remember the last time that site broke any major news. Not meant as a swipe, but we'll just file under rumor until further notice and you should too.

We could see it being true. Jones is perfect as a militaristic hard-ass and we could see him playing a general or Steve Rodgers' father or even one of Nick Fury's Howling Commandos, but without additional info, that's just speculation at best.

Calls to Paramount, who generally run publicity for Marvel films, to verify the accuracy of the report were not returned at press time. "The First Avenger: Captain America," directed by Joe Johnston, is scheduled to start shooting in Europe later this year and is due in theaters July 22, 2011. The rest of the cast includes Sebastian Stan as Bucky (Cap's kid sidekick), Hayley Atwell (as love interest Peggy Carter) and maybe one day we'll all find out if Hugo Weaving actually signed on to play the villain Red Skull. Last we heard, his negotiations were not complete and seemed to be protracted.

John Madden Still Directing 'My Fair Lady,' Aiming For A 2011 Shoot

The remake of "My Fair Lady" lives on. Correcting his earlier story that director John Madden had left the film due to disagreements over who to cast in the role of Professor Henry Higgins (the role was most recently attached to Hugh Grant, a favorite of screenwriter/actress/friend Emma Thompson), MailOnline writer Baz Bamigboye has learned that Madden is still set to direct but that filming definitely won't happen until 2011.

As for Hugh Grant, it looks like he's out as casting is still underway for the roles of Professor Henry Higgins and his student Eliza Doolittle. The project has had no shortage of talent circling it with Danny Boyle, Baz Luhrmann and Stephen Daldry all attached at various points and Keira Knightley, Carey Mulligan and Daniel Day-Lewis all attached/sought/rumored as well.

Whatever the rumored disagreements over the casting, it appears that Madden and the producers are on the same page and choosing to move forward. With filming now not set to take place until 2011, that gives Madden and co. plenty of time to search out their leads. It also gives them a chance to re-approach someone like Knightley who bowed out, but whose calendar for next year is still being put together. Whether or not they circle back to past choices or move forward to new talent remains to be seen.

Kevin James Brings 'The Boom' To Sony, Lines Up Another Comedy For The Studio

On the tail of the bizarre/surprising box office success that was "Paul Blart: Mall Cop", which pulled in nearly $150 million at the box office last year, Sony Pictures is betting on Kevin James. Variety reports that the studio, along with Columbia Pictures, have greenlit the upcoming action comedy "Here Comes the Boom" with James set to star. Filming on the comedy, which was penned by James and "Zookeeper" writer Rock Reuben, could begin as early as January 2011.

This will mark the third major big screen role after "Paul Blart" for the "King of Queens" star. James will also appear alongside Chris Rock, David Spade, Rob Schneider and Adam Sandler this summer in "Grown Ups," a comedy about the reconnection of friends after the passing of their high school basketball coach. And with studio hype and test screenings love at a fever pitch, "Zookeeper", a comedy with Kevin James as a, you guessed it, zookeeper looking for love, was pushed from its planned October release to a prime tentpole release date of July 8, 2011. So is Sony putting all their eggs in the Kevin James basket? It seems that way. And they aren't the only ones. Adam Sandler, James' co-star in "Grown Ups," will produce "Boom" under his Happy Madison banner, along with James' "Hey Eddie Banner" and Todd Garner's "Broken Road." And while no other casting than James has been confirmed, there are rumors that "Boom" could find its female lead in Salma Hayek. We're not sure why Hayek is now circling the Happy Madison crowd -- she'll also appear in "Grown Ups" -- but surely she can upgrade to the Apatow crowd instead?

While details on the upcoming project are being kept under wraps, we can be certain that Sony is definitely banking on James continuing his streak at the box office. And if "Paul Blart" wasn't a fluke, Kevin James may soon trade in his "King Of Queens" crown, for a King Of Hollywood one instead.

Update: Matthew Vaughn Has Already Passed On The 'X-Men: First Class' Directing Gig

Why, oh lord, does big news break on Friday evenings? We kinda called this one when we said Matthew Vaughn, the director of "Kick-Ass," had all the cinematic chops in the world to pull-off a comic-book adaptation (even if "Kick-Ass" was kind of juvenile and base).

That said, it's a no-brainer too. After Vaughn directed the very excellent and dazzling gangster picture, "Layer Cake," the English filmmaker (formerly Guy Ritchie's producer on similar caper efforts and apparently a quick study) was offered "X-Men 3" and then eventually "Thor," but dropped out of both projects (and almost burned permanent Hollywood bridges when he dropped out of "X-Men 3" rather last minute and after a deal had already been struck; sources tell us he felt overwhelmed at the time at a project that was spiraling out of his control).

Now, according to EW, he's being offered a mutant gig again, this time in the shape of "X-Men: First Class." Bryan Singer can't direct "X-Men: First Class" because of his "Jack The Giant Killer" obligations so the slot is vacant, and apparently 20th Century Fox has already offered it up to Vaughn. But can it be an offer he refuses since he worked so closely on "X-Men 3" for so long?

Before geeks get too excited, it is an offer story and 20th Century Fox have been talking to other directors as well. Surely Vaughn has something different in mind after "Kick-Ass," but who knows, maybe now's the time for the filmmaker to make good and come full circle. (Update: or maybe not, and this is why one should always take an offer story with a grain of salt, sources are saying that Vaughn has already passed, we'll see). Other directors who have apparently met with the studio include Daniel Espinosa, the Swedish director behind 2003's "The Fighter" and "Outside Love," Rupert Sanders ("The Low Dweller") and Jonathan Mostow (eww, "Surrogates," "Terminator 3: Rise of the Machines").

Update 2: The aforementioned directors reported by Deadline? All gone, but Espinosa, and new names added — you can never tell with Deadline — include Timur Bekmambetov ("Wanted"), Louis Leterrier ("Clash Of The Titans"), David Slade ("Twilight: Eclipse"), and Carl Erick Rinsch (one time "Alien" prequel director) all apparently in talks with the studio. All pretty big names, but again, it's just talks right now and the new transparency will basically let the world know if someone famous sneezes on a studio lot these days. Update: 3: Jesus, this is why Deadline erased their shit, half the names they reported are no longer in the mix. Looks like they were working off old intel. THR says Vaughn has already passed.

While Singer can't direct (he's shooting 'Jack' this summer, probably in 3-D), the script -- written by Jamie Moss ("Street Kings," and 2006 Black List favorite, "Last Man Home")-- is based on his treatment (Singer directed "X-Men" and "X2") and he will serve as an executive producer on the project, his input obviously being paramount to the franchise's tone and spirit.

Update: Matthew Vaughn Has Already Passed On The 'X-Men: First Class' Directing Gig

Why, oh lord, does big news break on Friday evenings? We kinda called this one when we said Matthew Vaughn, the director of "Kick-Ass," had all the cinematic chops in the world to pull-off a comic-book adaptation (even if "Kick-Ass" was kind of juvenile and base).

That said, it's a no-brainer too. After Vaughn directed the very excellent and dazzling gangster picture, "Layer Cake," the English filmmaker (formerly Guy Ritchie's producer on similar caper efforts and apparently a quick study) was offered "X-Men 3" and then eventually "Thor," but dropped out of both projects (and almost burned permanent Hollywood bridges when he dropped out of "X-Men 3" rather last minute and after a deal had already been struck; sources tell us he felt overwhelmed at the time at a project that was spiraling out of his control).

Now, according to EW, he's being offered a mutant gig again, this time in the shape of "X-Men: First Class." Bryan Singer can't direct "X-Men: First Class" because of his "Jack The Giant Killer" obligations so the slot is vacant, and apparently 20th Century Fox has already offered it up to Vaughn. But can it be an offer he refuses since he worked so closely on "X-Men 3" for so long?

Before geeks get too excited, it is an offer story and 20th Century Fox have been talking to other directors as well. Surely Vaughn has something different in mind after "Kick-Ass," but who knows, maybe now's the time for the filmmaker to make good and come full circle. (Update: or maybe not, and this is why one should always take an offer story with a grain of salt, sources are saying that Vaughn has already passed, we'll see). Other directors who have apparently met with the studio include Daniel Espinosa, the Swedish director behind 2003's "The Fighter" and "Outside Love," Rupert Sanders ("The Low Dweller") and Jonathan Mostow (eww, "Surrogates," "Terminator 3: Rise of the Machines").

Update 2: The aforementioned directors reported by Deadline? All gone, but Espinosa, and new names added — you can never tell with Deadline — include Timur Bekmambetov ("Wanted"), Louis Leterrier ("Clash Of The Titans"), David Slade ("Twilight: Eclipse"), and Carl Erick Rinsch (one time "Alien" prequel director) all apparently in talks with the studio. All pretty big names, but again, it's just talks right now and the new transparency will basically let the world know if someone famous sneezes on a studio lot these days. Update: 3: Jesus, this is why Deadline erased their shit, half the names they reported are no longer in the mix. Looks like they were working off old intel. THR says Vaughn has already passed.

While Singer can't direct (he's shooting 'Jack' this summer, probably in 3-D), the script -- written by Jamie Moss ("Street Kings," and 2006 Black List favorite, "Last Man Home")-- is based on his treatment (Singer directed "X-Men" and "X2") and he will serve as an executive producer on the project, his input obviously being paramount to the franchise's tone and spirit.

SIFF '10: Walter Salles Expresses His Deep Search To Understanding & Adapting 'On The Road'; Says The Feature Version Must Be Shot In B&W

Wednesday night, the San Francisco International Film Festival presented its annual Founder’s Directing Award to director Walter Salles, known for his films, "The Motorcycle Diaries," 1998's Best Foreign Language Film winner "Central Station" and "Dark Water." The main topic of discussion, however, was Salles' proposed and long-in-the-works production and adaptation of Jack Kerouac’s "On the Road."

The evening was built around a work-in-progress screening of “In Search of On the Road,” which is the Salles-directed documentary about his own journey to get the “possible film” (as he repeatedly referred to it) of "On the Road" made. The cut shown was organized specifically for the SFIFF screening and was about an hour long, though Salles suggested that the entire film will end up being a regular feature length documentary (he recently told the SF Gate it was a "very impressionistic 60-minute edit, a work in progress of an unfinished 120-minute documentary," and that sums it up well). Acknowledging the gravity of adapting such a book, the doc is exploratory, ironically and befittingly his own travelogue of self-discovery behind the heart of the novel and characters. Most impressive was the director's deep-seated desire to really understand the material and capture the spiritual humanity within even though he's obviously been living with the book and film adaptation for several years.

While there has been recent movement on the feature-length adaptation; Garett Hedlund ("Tron" "Friday Night Lights") was evidently cast as Moriarty and Sam Riley was allegedly cast as Sal Paradise (the Kerouac proxy) in 2009, the filmmaker sadly declined to go into any details or specifics of recent casting and it sounds like that's because funding is still TBD.

So then, first and foremost on people's mind, how close is the film to production? Unfortunately, Salles danced around the subject without much commitment to any facts. “You’ve heard of the Sisyphus myth?” he quipped alluding to the myriad of obstacles facing the long-gestating project. "It's a work of passion and one cannot try to dive into this territory without knowing the difficulties that surround it." He also admitted that the current state of independent production in the U.S. makes things "complicated."

"We are in the hopeful phase of trying to together put it together, I hope somehow..." Salles said, not entirely sounding entirely that convincing. "What I'm trying to express here with [“In Search of On the Road”] is the doubts involved with dealing with such a mythical subject matter and trying to enrich the perception you can have of this material."

While the documentary itself didn’t give any answers regarding a timeline, when it stated that any version of "On the Road" done correctly would need to be shot in black and white, the audience met the comment with vociferous applause.

Salles is clearly a deep and thoughtful person and perhaps this is why he's tackled this project so deeply, carefully, methodically and with self-doubt. While it's a very classic American novel, obviously being translated by an outsider, he sees the Kerouac book as a universal work.

"Motorcycle Diaries was about a social political revolution, but here, it's political yes, but it was a behavioral revolution at stake. And that effected all of us. We may have lived in different parts of the world with different languages, but it is strangely part of our experience as well. This movement meant a lot and my generation was always informed by it."

Mexican director Alejandro Gonzalez Inarritu conducted the Q&A with revealing and often humorous results. At one point, fishing for laughs, Inarritu asked Salles if his "On the Road" adaptation would be a 2-D or 3-D film, but instead received a characteristically serious response that had Salles looking back to the birth of cinema to support the case he’s about to make. Though not humorless, he shrugged at the third dimension issue and said flatly, “I saw incredible films last year... in 2D.”

The documentary was born out of a previous missed opportunity during the years of pre-production leading up to "The Motorcycle Diaries." To get a true feeling for the story, Salles repeated Guevara’s journey found in the book three times over during which he researched and interviewed first-hand witnesses. In retrospect he decided the process itself would have made for a fantastic film itself and expressed regret saying, “those two years of exploration were really unique and I wish I had filmed them.” “In Search of On the Road” is his way of avoiding making that same error again.

The film aims to cover a range of subjects but is specifically built around the very candid concept that "On the Road" may be an impossible film to properly adapt. Interviews in the film include many first-hand witnesses of Kerouac’s journeys, biographers, poets and a good number of prominent figures in the film world- many of whom have at one point or another considered being involved in other iterations of the adaptation. The cut shown last night included segments with Francis Ford Coppola, Dennis Hopper, Johnny Depp, David Byrne, Sean Penn, Dave Eggers, Philip Glass, Wim Wenders and Peter Coyote.

Shot on Super8 and miniDV, the documentary also shows off some footage of an open casting call held by Coppola over 15 years ago in anticipation of a different version of the film. In it, we see Matthew McConaughey auditioning for the role of Dean Moriarty, Russell Crowe as Old Bull Lee (the William Burroughs character), as well as Brendan Fraser, Mira Sorvino and Ashley Judd. The edit of the auditions isn’t exactly a cruel portrayal of the actors, but there probably wasn’t anyone in the theater wanting to imagine "On the Road" with the cast presented here.

In a brief session at the end of the program, Graham Leggat, Executive Director of the San Francisco Film Society, compares Salles’s quest to get the film made to the Terry Gilliam doc “Lost In La Mancha,” a choice of words that clearly illustrates the fight that the director has before him. If we can’t get great adaptations based on deeply loved literary classics, at least we can get some great documentaries about failing to do so. - Sean Gillane

--Written by Kevin Jagernauth

First Look: 'London Boulevard' Starring Colin Farrell & Keira Knightley

GK Films have revealed a first look at "London Boulevard," the forthcoming directorial debut from screenwriter William Monahan ("The Departed," "Edge Of Darkness"), and it's a clever introduction to the film's two lead stars.

Based on the book by Ken Bruen, the film stars Colin Farrell and Keira Knightley, and "is the story of a man newly released from prison (Farrell) who falls in love with a reclusive young movie star (Knightley) and finds himself in a duel with a vicious gangster." The film landed on our 75 Most Anticpated Films Of 2010 list and with good reason. Joining Farrell and Knightley is a solid cast including Ray Winstone, Eddie Marsan, Anna Friel, David Thewlis and Stephen Graham. We've read the script and loved it, finding it to be a sadder and original take on the territory staked out by Guy Ritchie in his early years, with depth to spare.

The film is currently in post-production and we're guessing it will premiere at the Venice and/or Toronto film festival later this year.

--Written by Kevin Jagernauth

John Krasinski & Drew Barrymore Save The 'Whales'

Deadline reports that Universal has green lit the appropriately titled "Whales," and cast former "Captain America" contender John Krasinski alongside Drew Barrymore. The film is about a family of whales that become trapped under ice in the Arctic Circle. Krasinski will play a journalist that first nabs the story, while Barrymore plays a Greenpeace activist. Together, they spread the story internationally and most likely end up falling in love. Could Krasinski's drive for a story get in the way of Barrymore's actual interest in the animals' well being, thus making their romance a tad rocky? Maybe. But fear not, folks -- we're sure he'll learn his lesson and get a kiss in the end.

The family friendly film might sound similar to "Free Willy," but it's actually based on an incident in 1988, when the U.S. and Soviet Union took a break from the Cold War to work together and save these whales. It's unclear how faithful it will remain to the actual story, as the plot synopsis doesn't mention the politics (which could be somewhat interesting but confusing for the younger audience members). It also doesn't say if it will take place in 1988, which may be avoided so the film doesn't get dated over time. It's not like the story isn't relevant, and it may suffer from focusing too much on its time period, considering it's made for kids and their parents alike. The filmmakers might be better off hitting the green/animal welfare button.

The film will probably be pretty cut and dry, with bad guys and good guys and nothing in between. Ken Kwapis will be helming the picture and has worked with both actors before, directing Krasinski in "License To Wed" and a handful of episodes of "The Office," and Barrymore in "He's Just Not That Into You." We think those track records speak for themselves. The writers, Jack Amiel and Michael Begler, were two of the eight credited writers for Tim Allen's "The Shaggy Dog." So don't expect anything other than semi-tolerable going into this one with your children. The pic is expected to shoot in fall of 2010, depending on Krasinski's schedule with "The Office."

Batman Returns: 'The Dark Knight' Sequel Set For A July 20, 2012 Release

Damn, Warner Bros. are wasting no time setting up their future summer tentpoles. Just two months after it was officially announced that Christopher Nolan was moving forward with a third Batman film (and was also brought on as a consultant for the next "Superman" film), WB has now officially set a deadline for Nolan in the form of a release date that is now officially July 20, 2012.

Zero details have surfaced of course, but in the beginning of February it was announced that David Goyer and Jonah Nolan were penning the script. Whatever this third Batman eventually is named, it will arrive in theaters almost four years to the day that "The Dark Knight" dazzled geeks, pleebs and the movie-going intelligentsia alike in the summer of 2008 (setting the box-office on fire and becoming a comic-book film game changer).

The film will be screened in conventional and IMAX theaters, and to our happiness, the announcement comes with zero mention of 3-D, which Nolan and his cinematographer Wally Pfister seem to be against (or at least the gratuitous use of).

This will mean some rest for the wicked. Nolan's existentialist thriller "Inception" hits theaters this summer on July 16, but he'll have at least a year to get the script into shape — presumably, they won't shoot any sooner than the summer of 2011.

No villains have been announced, and you can simply just laugh at all those previous rumors. Though, Nolan seems to like working with the same people, so we wouldn't be surprised if key members of the "Inception" cast — folks like Marion Cotillard, Joseph Gordon-Levitt and Tom Hardy — turn up in the film somewhere. But Nolan also wisely hires the right person for the job and doesn't play favorites.

Expecting to return — though no formal cast announcements have been made — are Christian Bale, Michael Caine, Gary Oldman and Morgan Freeman. Which one of those stupid rumors was your favorite? Marion Cotillard as Catwoman? Philip Seymour Hoffman as the Penguin? Eddie Murphy as the Riddler? Let the speculation of what villains will appear commence! But honestly, we do like the Riddler, if only because there's a serial killer-like quality to his character that you can ground in reality whereas transposing silly characters to the screen like the Penguin or Mr. Freeze is something Nolan and company generally know better than to attempt.

Meanwhile, Summer 2012 will be a massive showdown of tentpoles. Marvel’s “The Avengers” hits May 4, Peter Berg's boardgame-with-aliens picture “Battleship” arrives May 25, J.J. Abrams' “Star Trek” sequel is slated for a June 29 date , and the rebooted 3-D “Spider-Man” by director Marc Webb is scheduled for July 3. "John Carter of Mars" is also expected in the summer of 2012 and other possibilities include "Wolverine 2" and the recently announced "Godzilla" reboot (presumably in 3-D).

Why Roger Ebert Hates 3-D (And We Do Too)

Ah, Roger Ebert. America's most popular critic, who was most recently covered in a touching if overly sentimental Esquire piece, continues to write reviews weekly, updates his blog regularly, and tweets incessantly. But no topic has gotten under his skin more of late than 3-D (okay, with maybe the exception of video games, but we're not touching that one).

Ebert first covered 3-D way back in 2008, in a post titled "D-Minus for 3-D," saying "There seems to be a belief that 3-D films are not getting their money's worth unless they hurtle objects or body parts at the audience. Every time that happens, it creates a fatal break in the illusion of the film. The idea of a movie, even an animated one, is to convince us, halfway at least, that that we're seeing on the screen is sort of really happening. Images leaping off the screen destroy that illusion."

Now, Ebert is back, preaching essentially the same gospel in an article published yesterday in Newsweek. Titled "Why I Hate 3-D (And You Should Too)", the piece basically summarizes what we've been saying for some time: 3-D is an expensive diversion and Hollywood's revival of it is just another way to siphon money out of an audience that often doesn't know better. The article is relatively concise and measured, hardly offending anyone who does enjoy 3-D attractions.

It's well worth reading, but for those of you who prefer the short version, here are the nine key points Ebert covers in the piece:

1. IT'S THE WASTE OF A DIMENSION.
"Our minds use the principle of perspective to provide the third dimension. Adding one artificially can make the illusion less convincing."

2. IT ADDS NOTHING TO THE EXPERIENCE.
"Recall the greatest moviegoing experiences of your lifetime. Did they "need" 3-D? A great film completely engages our imaginations."

3. IT CAN BE A DISTRACTION.
"Some 3-D consists of only separating the visual planes, so that some objects float above others, but everything is still in 2-D. We notice this. We shouldn't."

4. IT CAN CREATE NAUSEA AND HEADACHES.
"In a just-published article, Consumer Reports says about 15 percent of the moviegoing audience experiences headache and eyestrain during 3-D movies."

5. HAVE YOU NOTICED THAT 3-D SEEMS A LITTLE DIM?
"The vast majority of theaters show 3-D at between three and six foot-lamberts (fLs). Film projection provides about 15fLs."

6. THERE'S MONEY TO BE MADE IN SELLING NEW DIGITAL PROJECTORS.
"Although there's room in most projection booths for both kinds of projectors, theaters are encouraged to remove analog projectors as soon as they can. Why so much haste to get rid of them? Are exhibitors being encouraged to burn their bridges by insecure digital manufacturers?"

7. THEATERS SLAP ON A SURCHARGE OF $5 - $7.50 FOR 3-D.
"I think 3-D is a form of extortion for parents whose children are tutored by advertising and product placement to "want" 3-D."

8. I CANNOT IMAGINE A SERIOUS DRAMA, SUCH AS UP IN THE AIR OR THE HURT LOCKER, IN 3-D.
"The medium seems suited for children's films, animation, and films such as James Cameron's Avatar, which are largely made on computers."

9. WHENEVER HOLLYWOOD HAS FELT THREATENED, IT HAS TURNED TO TECHNOLOGY: SOUND, COLOR, WIDESCREEN, CINERAMA, 3-D, STEREOPHONIC SOUND, AND NOW 3-D AGAIN.
"In marketing terms, this means offering an experience that can't be had at home. With the advent of Blu-ray discs, HD cable, and home digital projectors, the gap between the theater and home experiences has been narrowed. 3-D widened it again. Now home 3-D TV sets may narrow that gap as well."

Now, before everyone screams "Avatar" and tries to make Ebert eat crow for his four-star review of the film, it should be noted that at the time he wrote "The film never uses 3-D simply because it has it, and doesn't promiscuously violate the fourth wall. He also seems quite aware of 3-D's weakness for dimming the picture, and even with a film set largely in interiors and a rain forest, there's sufficient light." He also notes that James Cameron's film was created for 3-D from day one, rather than used as a last-minute decision to help pad box-office figures and add an extra marketing edge.

He closes his Newsweek article with these thoughts, which echo our (and many others') views on this latest trend: "I'm not opposed to 3-D as an option. I'm opposed to it as a way of life for Hollywood, where it seems to be skewing major studio output away from the kinds of films we think of as Oscar-worthy....I have the sense that younger Hollywood is losing the instinctive feeling for story and quality that generations of executives possessed." And whenever we here at the Playlist rail against 3-D, ultimately, it's for similar reasons. We fear that the American studio system has taken a systemic step towards cross-marketed product films and kid flicks and the liberal application of 3D is emblematic of that shift.

But with "Avatar," "How To Train Your Dragon" and "Alice In Wonderland" turning a massive profit, there's no chance of 3-D going away anytime soon. But perhaps Ebert's insistence, as well as our own, may raise some debate and prevent a number of films from either being converted or shot in 3-D. We'd settle for that small consolation. For now.

--Written by Mark Zhuravsky

Tribeca 2010: 'Meskada,' 'Get Low,' Brillante Mendoza's 'Lola' & More

Unlike fall’s artsy New York Film Festival, New York’s downtown spring festival boasts a much larger and more mainstream, yet still decidedly indie line up. Created by Robert De Niro as an attempt to support lower Manhattan’s devastated economy in the wake of 9/11, the festival tries to include something for every taste. Despite mixed results in the last few years, Tribeca remains an interesting player in the film festival space. Picking up a handful of older festival titles, summer blockbusters, and eclectic international fare, this year’s festival kicks off with animated "Shrek Forever" and closes with omnibus documentary "Freakonomics." But, this writer attempted to check out things off the beaten path, with again, mixed results...

"Meskada"
A murder investigation ignites class tensions in this briskly paced drama that distinguishes itself from standard police procedural by following both the investigators and criminals. When the son of a local politician is murdered in a well-to-do town, detective Noah Cardin (Nick Stahl) finds evidence pointing to the neighboring blue-collar town in which he grew up. Meanwhile, the underemployed perpetrators Shane (Jonathan Tucker) and Eddie (Kellan Lutz) face the possibility of cementing their community’s ruin when the victim’s mother (Laura Benanti) stonewalls investment until the suspects have been found (Rachel Nichols also stars). Most of the youngish cast inhabits their roles well despite an occasionally contrived script by writer/director Josh Sternfeld ("Winter Solstice"). Ultimately, the problem is the exploration of America’s sociopolitical divisions doesn’t lacks bite and doesn't go far enough – it propels the narrative successfully, but doesn’t shed any new light. [B-]

"Get Low"
Centering on a belligerent hermit Felix Bush (Robert Duvall) in 1930s rural Tennessee who hires a funeral home owner Frank Quinn (Bill Murray, firing-on-all-cylinders of incredible nuance) and his assistant (Lucas Black) to plan a funeral party for him before he dies, "Get Low," strikes an enjoyable balance between folksy charm, wry humor, and sensitivity with lovely and rich lived-in aesthetics. Felix's decision to see his former romance (Sissy Spacek) and reverend (an excellent Bill Cobbs) hint at his cryptic motives, while the decision to turn the party into a raffle for his property raises the stakes. The repartee between the eccentric Felix and deadpanning Frank provides the film's real spark and some of the tastiest toe-to-toe acting we've seen in months. The climactic party is subtly poignant, but the build-up to it led me to expect a meatier revelation. Sony Pictures Classics is releasing the film this summer and the best way to illustrate the quality of this little indie picture is: Bill Murray rarely shows up to work these days and when he's this good, it's because he recognizes the material is top notch. If it's good enough for him it should be more than good enough for you. A modest and quiet highlight of the festival so far. [B+]

"Lola"
Following up to his controversial and reviled Cannes picture “Kinatay” (which one him a director's prize, but suffered from massive walkouts and jeers — it still has no U.S. distribution), Brillante Mendoza reaffirms his naturalist style, with its nonprofessional actors and inquisitive handheld camerawork, but with a gentler, less-provocative work. The protagonists are the grandmothers of a murder victim and the accused killer who must deal with the legal fallout of the case. One woman is determined to pursue the case against the murderer, but the financial burden of the funeral makes the settlement the other woman hopes for seem tempting. Both inhabit the slums of Manila and the crime exerts nearly unbearable pressure on them. The women, played with impressive authenticity by Anita Linda and Rustica Carpio share a determination that earns our admiration. Their quiet indignities, tragedies, and pleasures add up to a compassionate yet unromantic portrayal of struggle through hardship. [A-]

"Dream Home"
Technically superior and very grisly indeed, "Dream Home" revels in conceiving of creative new ways to off people. More interested in making us squirm than shiver, experienced director Pang Ho-Cheung’s slasher features the macabre humor and graphic gore found in the gross-out classics of the '70s and '80s. The plot is slight — no giallo mystery, this — but the steady unveiling of seemingly innocent murderer Cheng Lai-sheung’s (Josie Ho) backstory provides a satire of gentrification and class mobility. Strictly for gorehounds, this is the only film of which we're aware that uses a vacuum sealer as a murder weapon. (And the second, after "Leprechaun: Back 2 Tha Hood," to do the same with a bong.) [B-]

"Moloch Tropical"
Inspired by Russian auteur Alexander Sokurov’s 1999 picture “Moloch” and buoyed by skilled acting and cinematography, this unsettling feature, directed by Raoul Peck ("Lumumba"), recreates a tense day leading to Haitian president Jean de Dieu’s (played with dynamic aplomb by Zinedine Soualem) fall from power. The prevailing mode is irony, the scene a mountainside palace. Preparations for the celebration bicentennial of the Haitian Revolution and the arrival of film stars are juxtaposed with the sexual harassment and torture occurring behind the scenes. Word of the brewing rebellion trickles in via the television and a visit from Aristide’s mother, leading to a gradual deterioration in the president’s mental state. This is an accomplished, if slightly distanced, portrait of corrupt and deluded power. [B]

"Possessed"
College student Hee-jin (Nam Sang-Mi) returns home to find that her younger sister (Shim Eun-Kyung) is missing, her mother is a religious fanatic, and the neighbors keep committing suicide. As evidence of demonic presence mounts, Hee-jin works with the case’s detective to uncover the truth. Director Lee Yong-Jo, who assisted star director Bong Joon Ho on his breakthrough feature "Memories of Murder," manages to attain assured performances from a varied cast in his debut effort. But this mystery wrapped in a ghost story suffers from a confusing chain of events and a conclusion that seems to raise as many questions as it answers. The requisite creeping about and eerie clues are fun at first, but simply become a bit repetitive after a while. The use of evangelical Christianity, which is on the rise in Korea, is intriguing, though it compares unfavorably to Carrie. [C] — Daniel Caron

In Theaters: 'A Nightmare on Elm Street,' 'Furry Vengeance,' 'Please Give'

Don't worry folks, only one more week until Robert Downey Jr. and co. give us a reason to believe in big budget Hollywood fare with "Iron Man 2" (the film has already opened internationally). Until then, we've got a lame horror reboot and an even lamer Brendan Fraser family vehicle going head-to-head against the continued success of the Dreamworks' "How to Train Your Dragon." Serious as the legs on that fire-breathing beast may be, Freddy should be anything but dead at the box office this weekend.

In Wide Release: Everyone's favorite razor-fingered dreamweaver finally gets a reboot in this week's "A Nightmare On Elm Street." The feature debut by music video director Samuel Bayer, stars the reliably fantastic Jackie Earle Haley replacing Robert Englund as Freddie Krueger. A whole generation has grown up knowing Krueger as an icon, but, not necessarily the films in the series, so a reboot makes sense right about now. We smacked the flick with a big fat F in our review yesterday, so don't blame us when it goes straight to #1. Rotten Tomatoes tracks the film with a 13% rating, while Metacritic is slightly kinder with a 33 score.

Brendan Fraser once again tries to spin dirt into family comedy gold with "Furry Vengeance." Encino Man plays a developer who moves to the Oregon woods with his family to oversee an eco-friendly housing development, only to find himself at war with the native creatures who inhabit the land. Expect lots of cheap groin shots, cartoony violence, and spotty acting from the human cast. To think that director Roger Kumble once helmed the horny high school classic "Cruel Intentions." Oh, how the mighty have fallen. RT says you shouldn't even bother, with a lousy 3% rating, Metacritic chimes in with a 22 score.

In Limited Release: Director Nicole Holofcener ("Lovely & Amazing," "Friends With Money") re-teams with her muse, Catherine Keener for the acidic comedy "Please Give." Keener plays a furniture scavenging Manhattan mother struggling to keep her family functioning in the modern world. Oliver Platt, Amanda Peet, and Rebecca Hall co-star in the film, which we reviewed yesterday, finding it mean, funny, but ultimately forgettable. RT: 88%, Metacritic: 74.

Michael Caine gets a meaty starring role in the British thriller "Harry Brown." The 77-year-old legend plays the titular ex-Marine living in a run-down modern day London neighborhood with an escalating youth crime problem. When his best friend is killed, Harry Brown gets all vigilante on us and cleans up the hood with his own bare hands. While the film has some thrills, as we noted in our review, it ends up completely unsatisfying. RT: 69%, Metacritic: 56.

A crazed doctor surgically joins three victims together, mouth to anus, in the horror film "The Human Centipede (First Sequence)." The Tom Six-directed picture has won several awards at various international film festivals and is getting a joint cinema/VOD distribution through IFC films. We reviewed the film this week, having a hell of a lot of fun with the undeniably frightening picture, which makes a great alternative to that other big horror release this week. RT: 59% Metacritic: 38.

Also out in limited release: Brian Cox plays a bar owner slowly drinking himself to death in "The Good Heart." When he meets a young homeless man Lucas, played by Paul Dano, he finds a natural heir to his legacy and begins to teach him the tricks of the trade. RT: 36%, Metacritic: 40. Scott Caan writes, produces, and stars in "Mercy" about a romantic novelist. RT: 29%, Metacritic: 49.