The Screengrab : baghead

SXSW Lineup Announced

Scott Von Doviak — Mon, 02 Feb 2009 19:45:00 GMT

I don’t know if the groundhog saw his shadow or not, but either way it’s six weeks until the happiest time of the year, SXSW. The full film festival lineup has been announced, and highlights include:

American Prince – Remember Martin Scorsese’s documentary American Boy? No? Well, surely you remember the guy who sells Travis Bickle his guns in Taxi Driver. That’s Steven Prince, who director Tommy Pallotta catches up with in this new documentary. (I must admit, this is a brilliant way to ensure Martin Scorsese watches your movie. I’d follow up on his other documentary subjects, Charles and Catherine Scorsese, but sadly they’re no longer with us.)

Best Worst Movie – “When an Italian filmmaker, an Alabama dentist and fledgling Utah actors filmed the low-budget horror movie, Troll 2, they'd no idea that twenty years later they would be celebrated for making the worst movie ever made.” Troll 2 is coming soon to Unwatchable, so I’ll be the judge of that.

Beeswax – Last year’s Baghead was the first mumblecore horror movie, and this appears to be the first mumblecore legal thriller. Andrew Bujalski (Funny Ha Ha) writes and directs.

Winnebago Man – A movie about this guy:

For the Love of Movies: The Story of American Film Criticism – A documentary about film critics? Brilliant! I predict this will get no bad reviews.

Check out the full roster here.

DVD Digest for December 30, 2008

Paul Clark — Tue, 30 Dec 2008 15:00:00 GMT

Hope everyone had a wonderful holiday! This week, the big studios drop a ton of new DVDs and Blu-Rays into the market to compete for your newly-acquired Christmas cash.

In recent releases, DVD shopping begins early this week, with three new Paramount titles: Shia Labeouf and Michelle Monaghan in Eagle Eye (also Blu-Ray); Ricky Gervais in Ghost Town (also Blu-Ray); and Keira Knightley in The Duchess (also Blu-Ray). Today brings us Nick Broomfield’s Battle For Haditha (Image Entertainment), as well as a “head to head” match up (sorry) between Alan Ball’s Towelhead (Warner) and the Duplass Brothers’ Baghead (Sony).

In TV on DVD, today’s new releases include The Tudors Season 2 (Paramount) and Nip/Tuck Season 5 Part 1 (Warner).

Finally, this week’s bumper crop of new Blu-Ray-only releases includes: Tom Cruise in Days of Thunder (Paramount); the Shining-in-space thriller Event Horizon (Paramount); Demi Moore and the Swayz in Ghost (Paramount); Queen Latifah in Last Holiday (Paramount); Jim Carrey in Peter Weir’s The Truman Show (Paramount); Owen Wilson and Vince Vaughn in Wedding Crashers (Warner); and finally, the Browncoats’ favorite, Joss Whedon’s Serenity (Universal).

The Year in Trailer Review: Paul Clark's Favorite Trailers of 2008, Part 1

Paul Clark — Mon, 29 Dec 2008 16:00:00 GMT

Later this week, I’ll be listing my favorite movies of 2008. But before I do that, I’d like to look back at the trailers from this past year that have made my job as Screengrab’s resident trailer guru worthwhile. Despite the lack of really world-beating trailers a la Buffalo ‘66 or Eternal Sunshine of the Spotless Mind, I had no trouble finding seven trailers from 2008 that were pretty rockin’.

In no particular order:

As a fan of the Watchmen graphic novels, I’m pretty conflicted about Zack Snyder’s upcoming remake. On the one hand, it looks really damn cool. On the other, so did the trailers for 300, and look what happened there. That said, it does look really damn cool, and the visuals are surprisingly close to what I’d imagined from reading the books. Snyder’s casting choices are pretty hit-and-miss, but the ones that are on are dead-on perfect. Here I’ve posted the first two trailers, although the third is pretty awesome too.

The Duplass brothers’ Baghead was something of a disappointment for me, largely because the trailer suggested an intriguing combination- a mix between “mumblecore” and the slasher movie. What made the trailer especially interesting was that it didn’t spring the horror element on the audience until almost the very end, making for a finale that’s surprisingly unsettling. Maybe it was just that the trailer gave no hint to the movie’s dumbass denouement, but I still wish I could see the movie that this trailer had me hoping for.

Sometimes, the difference between a good trailer and a great one is a perfectly-chosen bit of music, and no trailer from 2008 exemplifies this more for me than this spot for Sam Mendes’ Revolutionary Road. In many ways, this trailer is pretty much what you’d expect from Mendes adapting Richard Yates’ novel- suburban discontent, gorgeously shot and designed period settings- but once the Nina Simone song kicks in, the trailer takes on a strange, even spooky element that’s wholly unexpected. It’s enough to make one forgive the curious absence of costars Kathy Bates and Michael Shannon.

2008 in Review: Paul Clark's Favorite Movie Moments

Paul Clark — Fri, 26 Dec 2008 20:00:00 GMT

Starting tomorrow, the writers of Screengrab will be unveiling their lists of the top 10 films of 2008. But before that begins, I’d like to post a different sort of list of highlights from the past year. For those of you who’ve only started reading recently, I used to write a bi-weekly column called “The Movie Moment,” in which I’d explore in depth some of my favorite scenes from movies both old and new. This past spring, I had to put the column on indefinite hiatus for various reasons, but I wanted to bring it back for this week only so I could celebrate some of my favorite Movie Moments of 2008. However, I had such a devil of time trying to narrow down my list that I’ve decided to simply list all of the moments that made me laugh out loud, cry like a baby, bite my nails uncontrollably, or which otherwise rocked my world this past year. This list is by no means meant to be taken as comprehensive, but merely were the moments which readily sprang to mind while I was writing the piece. So without further ado, I give you…

2008: The Year in Movie Moments:

(in no particular order)

The little boy’s confession notes- In Bruges

“No-no-no. I kill the bus driver.” - The Dark Knight

The security guard makes his rounds - Man on Wire

Sidney’s musical vows - Rachel Getting Married

The kiss that launched a thousand lens flares - Silent Light (only one of several transcendent moments in the film- the swimming-hole scene or the epic rainstorm might just as easily have qualified)

Mike’s late-night visit (or really, anytime Merle Haggard’s “Mama Tried” is played) - The Strangers

Peekaboo nudity - The Romance of Astrea and Celadon

Harry unveils the machine - Burn After Reading (honestly, who could possibly enjoy THAT?)

Madame Gaudens’ confession - A Girl Cut in Two

Incident at the race track - My Winnipeg

Most hilarious random line of the year: “When it comes to women, you’re Michael Jordan. I’m… Bill Laimbeer.” - Baghead

The new army suits up for battle - Role Models

Alex takes a shower - Paranoid Park

Brandi forgets her cell phone - Stuck

Black Kold Medina puts on a show - Trouble the Water

Runaway penguin - Encounters at the End of the World

Jung-rae Kim diagrams his neuroses - Woman on the Beach

Alex’s sex surprise, both inevitable and strangely erotic - XXY

The director’s big exit - Tropic Thunder

Most unlikely tearjerking moment of the year: Fred Knittle sings “Fix You”, Young@Heart

Three-way fist fight: Seth Rogen vs. James Franco vs. Danny McBride - Pineapple Express

The Richard McGuire segment - Fear(s) of the Dark

Ninjas! - In the Name of the King: A Dungeon Siege Tale (yes, really)

And finally, my five favorite openings and finales of the year:

Perfect openings: “Put on Your Sunday Clothes”, WALL*E; Sunrise, Silent Light; The piano, The Silence Before Bach; The Jean-Claude Van Damme Stunt Spectacular, JCVD; The Legend of Po, Kung Fu Panda

Great final scenes (no spoilers): Synecdoche, New York, The Duchess of Langeais, Shine a Light, The Visitor, Burn After Reading

I would invite all of you to share some of your favorites in the comments section. After all, I’m surely missing at least a couple of really good ones.

Screengrab Review: Choke

Andrew Osborne — Mon, 29 Sep 2008 18:00:00 GMT

While attending Austin's South-By-Southwest Film Festival in March of this year, I caught a screening of the big-studio adaptation of Chuck Palahniuk’s novel Choke, which I’m told is daring and provocative and, apparently, beloved by hipsters. The theater was filled with big studio Men in Black armed with night vision goggles and whatnot to prevent any pirating of their upcoming release...odd, considering the much more likeable and successful Knocked Up got screened at the 2007 festival without nearly so much off-putting, paranoid nonsense.

Anyway, Choke tells the story of sex addict Sam Rockwell and his sex addict friends (including Joel Grey?!!?!?) and their struggles with sex addiction, which is apparently a terrible problem in Los Angeles and, uh, probably other places (like the story's New Jersey setting, Palahniuk's Washington State stomping grounds and wherever David Duchovny happens to be at any given moment)...although, to be fair, I’m guessing the condition is more of a problem for sex addicts who don’t get to screw around with gorgeous starlets like Kelly Macdonald and Bijou Phillips.

Rockwell’s character also likes to pretend he’s choking in restaurants, because the attention it brings him makes up for the love he was denied by his wacky, now Alzheimer’s-afflicted mother (played by recent bad-mom specialist Anjelica Huston).

Ho-hum. Not a bad movie exactly: there’s some funny bits involving a colonial theme park, a sit-up-and-take notice performance by Gillian Jacobs as a stripper named Cherry Daquiri (not her real name) and, of course, plenty of sex and nudity...but it all just winds up playing like the pilot for some new Showtime series I'm never gonna watch. Sam Rockwell is once again likeable yet not quite likeable (or relatable) enough to really care about, and I left the theater wondering how many better (or at least more interesting) movies, say, the Baghead mumblecore crowd, the documentarians behind Man On Wire or Young@Heart or any number of unheralded SXSW and other below-the-radar indie filmmakers could have made with the millions they spent making (and marketing the shit out of) this utterly disposable "edgy" studio offering.

Related Stories - Trailer Review: Choke, Sundance: The Final Roundup, Greta Gerwig and the SXSW Invasion

The Screengrab Highlight Reel: July 19-25, 2008

Scott Von Doviak — Fri, 25 Jul 2008 21:00:00 GMT

The dog days of summer are here and sometimes it's just too hot to blog. But while this may not have been the most action-packed week in Screengrab history, you still might have missed out on some good stuff like:

Ignominious Exits: The Top Ten Worst Final Films (Parts One, Two and Three)

Tons o' comic book movie news, including trailers for Watchmen and The Spirit, as well as Frank Miller's take on the latter.

Is there a new Batman movie, perchance? While Dark Knight star Christian Bale would prefer not to discuss his current personal woes, we look back at the music for the previous Bat-movie, Batman Begins.

Remember how Forrest Gump was a huge hit? We had nothing to do with that.

A strange man with a bag on his head gave us this exclusive Baghead clip.

A strange man without a bag on his head has made a CSNY documentary.

No big surprise that Roger Ebert is done with TV, but at least he's taken Richard Roeper with him.

Any interest in a Hercules movie? How about David Cross selling tires? No? OK, let's all hit the beach.

Screengrab Exclusive: "Baghead" Clip

Scott Von Doviak — Mon, 21 Jul 2008 18:00:00 GMT

Mark and Jay Duplass, the duo behind the seminal mumblecore feature The Puffy Chair, are back with what has been most often described as "the mumblecore horror movie." That's a fun marketing hook, but you shouldn't expect Baghead to be a nerve-jangling exercise in terror ala The Strangers, even if both movies feature menacing figures with bags on their heads. At once a self-reflexive send-up of the lo-fi movement they helped launch and a sly love quadrangle, Baghead is more funny than scary, although some of the relationship issues it explores may give you the heebie-jeebies. The set-up is simple: four struggling actors hole up in a cabin in the woods for a weekend, planning to write a movie for all of them to star in. In this exclusive clip, available only on the Screengrab, a brainstorming session turns into an awkward attempt at seduction.

Click here to check it out.

Baghead (Sony Pictures Classics) opens in selected cities Friday.

The Halfway House: Von Doviak’s Unwatchables of 2008 (So Far)

Scott Von Doviak — Wed, 09 Jul 2008 17:00:00 GMT

My, my, my, isn’t this a lovely thing! The sun is shining, the birdies are singing, and my fellow Screengrabbers are raving about their favorite movies from the first half of 2008. So far, Andrew Osborne, Paul Clark and Leonard Pierce have all weighed in with their rainbows and pretty, pretty ponies, so I guess it’s up to me to poop in the punchbowl.

Don’t get wrong – it’s not that this year’s first half has been completely worthless as far as cinema is concerned. I enjoyed Wall-E as much as the next guy – I’m not made of stone, you know! (Not entirely, anyway.) Iron Man was about as good as it gets with the superhero genre, which still makes it a movie that ends with one guy in a big metal suit beating the crap out of another guy in an even bigger metal suit, but an awful lot of fun up until that point. Like Mr. Pierce, I’ll go to bat for the terrifying first hour of The Strangers, as well as most of Baghead, the offbeat indie Wellness (screened at SXSW) and the documentaries Crawford and The Unforeseen. But let’s be honest – so far 2008 has been overflowing with crap, and as the resident movie janitor, it’s my job to dig through it. Without further ado, here are the five least watchable movies I’ve seen this year.

1. The Love Guru. Everything you’ve heard is true. This isn’t a case of mass hypnosis or the critical brotherhood sticking together – it really is that bad. Mike Myers described this comedy about a self-help guru’s attempts to help a hockey player win a championship as “a delivery system for some wonderful ideas.” Actually, it’s a delivery system for dick jokes, each one dumber than the last.

2. First Sunday. So bad that I’ve already covered it here as part of the Unwatchable series. Nuff said.

3. Step Up 2 The Streets. A movie that raises many questions, not least of which is: “There was a Step Up 1?” A teenage street dancer (Briana Evigan, the next Demi Moore, if we needed one) is forced to enroll in an upscale school for the performing arts, leaving her old crew to accuse her of NOT KEEPING IT REELZ. This can only be settled with a dance-off! A thoroughly unconvincing dance-off that looks like an outtake from Night of the Living Dead: The Musical.

4. The Ruins. Reviewed here at the time of its release. At least, it was in theaters when I started writing the review; I think it had been pulled by the time I posted it. A gripping, intense read becomes a dead teenager movie with laughable CG effects.

5. Vince Vaughn’s Wild West Comedy Show. You loved The Original Kings of Comedy! You tolerated The Blue Collar Comedy Tour! Now run and hide, because Vince Vaughn’s Indistiguishable Frat Dudes of Comedy are coming to town! Vaughn’s brainstorm was to bring unknown comics from L.A. to heartland cities where folks apparently never get the opportunity to laugh in person at jokes about bumper stickers and apple martinis. And we wonder why middle America hates Hollywood.

Related:
SXSW Review: Wellness
Screengrab Review: The Unforeseen

Baghead Snubs New York, L.A.

Scott Von Doviak — Fri, 06 Jun 2008 18:00:00 GMT

Those of who live in the 99.999% of the country that lies between New York and Los Angeles long ago came to terms with being second class citizens when it comes to movie release dates. Sure, we’ll get your Indys and Hulks at the same time as everyone else, but it’s always irritating when the rave reviews for a There Will Be Blood start rolling in and we still have to wait two months to see it. We’ll begrudgingly admit that it does make some sense for movies seeking buzz to open in the two largest media centers first, particularly late in the year when Oscar-qualifying rules require week-long runs in New York and L.A. theaters. Still, in an online age when buzz is transmitted globally with a single keystroke, the platform release begins to seem like an outmoded convention.

Still, it’s at least somewhat gratifying when a movie bucks the conventional wisdom and opens in one of these other American cities you may have read about or seen on the TV. As Michael Cieply notes in the New York Times, it does happen on occasion. “Thus Samuel Goldwyn Films four years ago picked up the New Age semidocumentary What the Bleep Do We Know? after its producers had already found an audience in the Pacific Northwest. It then expanded the release to other heartland cities but stayed out of central Manhattan, confining itself to what Goldwyn’s president, Meyer Gottlieb, called ‘the fringes’ of New York…In June 1980, 20th Century Fox defied conventional logic by opening The Stunt Man, directed by Richard Rush and starring Peter O’Toole, in Seattle. Months later, when it played New York, the film was panned by The Times.”

The latest example is Baghead, the mumblecore horror movie from the Duplass brothers. “The movie will show first in Austin, Tex., where its writer-directors, the brothers Mark and Jay Duplass, got their filmmaking careers in gear. Then Baghead will probably move on to Dallas, Houston or, maybe, Portland, Ore. — cities that, in the words of Tom Bernard, the co-president of Sony Pictures Classics, ‘tend to connect with what’s new and different.’ In July or August, if all goes well, Baghead will finally make it to screens in Manhattan and West Los Angeles, where independent film gems are supposed to be discovered by sophisticated viewers who live on the culture’s cutting edge. Or used to.”

Mark and Jay Duplass spoke with the Austin Chronicle about the strategy. “Too often with a small movie like Baghead,” Mark says, “if you open it in New York or L.A., it never gets a chance to find its legs. We liked the idea of opening up in a place where people might give it a chance and where it actually might play for more than a week or two before it gets knocked out by the next big summer movie… Austinites are smart, and they're looking for something different; you've gotta keep them on their toes. For us, Austin is the quintessential movie-watching town, because people there will go to the movies without even knowing what they're going to see, just to see something new.”

Related:
Tribeca Film Festival Review: Baghead

Trailer Review: Baghead

Paul Clark — Fri, 16 May 2008 16:00:00 GMT

Well, it was bound to happen sooner or later: the first mumblecore horror movie. Even as someone who has never really had much use for the mumblecore movement, this one has me intrigued, in large part because the two elements seem so incongruous. The casual loosey-goosey feel of movies like Hannah Takes the Stairs and Mutual Appreciation just doesn’t seem to jive with the stylistic and storytelling conventions of the fright genre, which if nothing else makes it a noble effort by The Duplass Brothers to make it work. But how successful will it be? A few weeks ago, Screengrab’s own Phil Nugent saw the film at Tribeca, where he praised the comic aspects of the film but had little to say about the horror, which leads me to believe it’s not as much of a factor in the film as this trailer would lead you to believe. Still, I’m willing to give this a shot, which is more than I can say with many movies of its ilk.

Tribeca Film Festival Review: "Baghead"

Phil Nugent — Tue, 29 Apr 2008 20:00:00 GMT

Baghead bills itself as being presented by "the Duplass Brothers." That's Jay Duplass, who a few years ago directed The Puffy Chair, from a script he co-wrote with brother Mark, who starred in it and produced it. Along though The Puffy Chair was no major world-changing feat, it had a story and actual jokes and was decently lit, all of which easily set it apart from the work of most of the filmmakers who've been lumped together under the heading "mumblecore"--such as Joe Swanberg, whose Hannah Takes the Stairs featured Mark Duplass as the first, and funniest, of the serial boyfriends of the confused heroine (Greta Gerwig). The Dupplass boys may be having second thoughts about that, because Baghead, on which they share writing and directing credits, opens with a fairly vicious parody of a half-assed "mumblecore"-style independent film that looks as if the print had been delivered to the projection room in a cinnamon roll box with the icing still stuck to the insides. After the in-jokes are out of the way, our heroes--two failed actor-brothers named Matt (Ross Partridge) and Chad (Steve Zissis) and the women in their lives (played by Gerwig and Elise Muller)-- repair to a family house in the woods to work on their fantasy of writing a script for a movie that will launch the four of them out of film-extra work and to see what they can come up with in the way of comedy and drama with the tangle of misfiring sexual and romantic attractions between them. (Chad, who's a bit of a schlub in comparison to his brother--"You got Elvis hair," he tells him reproachfully--is in love with Gerwig, who has does indeed have the hots for Matt, who in turn think that he and Muller have broken up as a couple, even though she still regards him as her "soul mate.")

Baghead runs out of gas about twenty minutes from the finish line, when it resorts to a plot twist reminiscent of the lesser work of Sherwood Schwartz. But up to that point, it's surprisingly funny. Like The Puffy Chair, it's scaled small, and because it's set mostly in the house, it lacks the built-in advantage that The Puffy Chair had just by virtue of its being a road movie: it's easier to forgive the lack of forward momentum when at least the scenery keeps changing. The Dupplass brothers have humor, but they don't (yet) have a farce architect's talent for stoking the tangle of longings and self-delusions they set up until it builds to a comic explosion. They seem content to just polish and turn them over and examine them from different angles. That's an honest approach, and this new movie is likable even after it wears out its own possibilities, but if they plan on being in movies for the long haul, they need to start thinking bigger. The good news is that, unlike some of the directors they've been linked with, I can actually picture them doing that. For now, the biggest surprise in Baghead is Greta Gerwig, who seemed embarrassingly callow, and even not so bright, in the overhyped Hannah Takes the Stairs. Here, she seems callow and not-so-bright, but this time it's deliberate, and she manages to be charming, too. It's actually a good sign for her long-term prospects that she's better at playing a character than she was at Embodying the Emotional Confusion of Her Generation.

[Correction: This piece originally falsely stated that Mark and Jay Duplass, who wrote and directed Baghead, act in it as well. We regret the error.]

Greta Gerwig and the SXSW Invasion

Scott Von Doviak — Thu, 06 Mar 2008 20:30:00 GMT

In approximately 24 hours, the bars and hotel lobbies of Austin will be crawling with filmmakers, actors, publicists, studio weasels, and, lowest of the low, film bloggers. Yes, your Screengrab pals Leonard Pierce and yours truly will be on the scene to bring you up-to-the-minute news, reviews and free booze. No, wait. The free booze is for us. But you’ll reap the benefits when you get to read our semi-drunken posts.

In anticipation of SXSW Film 08, this week’s issue of the Austin Chronicle is jam-packed with coverage. The cover girl is Greta Gerwig, which is entirely appropriate as the leading lady of mumblecore is practically the face of SXSW these days. The 2006 festival featured the premiere of LOL, in which Gerwig made her screen debut (granted, it was only her voice on an answering machine, but it was a start). Hannah Takes the Stairs premiered at the following year’s SXSW, which also showcased Gerwig in an amusing series of promos that screened through the festival.

This year she’s everywhere: Sunday night you can see her in both Baghead (the mumblecore horror movie from the Duplass brothers) and Nights and Weekends (which she co-wrote and co-directed). The following night she’s starring in Mary Bronstein’s Yeast as a “maddeningly oblivious, tyrannical and emotionally stunted young woman.” The Chronicle’s Spencer Parsons talked to Gerwig on the eve of her Austin takeover and found that success hasn’t spoiled her yet. “I still haven't figured out how to make money out of this, but it's more of my life, and it's real, and it's great. Now I think, yeah, it's not impossible, but you've also got to be pragmatic. I'm smarter now about how I earn my money in New York, having a job, and even if I can't fully support myself doing this, I can still do it if I want to, and that's great.”

The issue also contains interviews with Elvis Mitchell, who discusses his documentary The Black List, Crawford director David Modigliani, and the ever-popular Zellner Brothers, who sum up the festival’s appeal perfectly: “South by Southwest takes place during the best time of year, which gives visitors an interesting misconception that Austin's always really pleasant and wonderful to live in [laughs]. Sure the weather is perfect today, but in two months it's going to be hell. But they won't ever experience that.”

The Five Most Intriguing SXSW Trailers: Narrative Films

Scott Von Doviak — Fri, 29 Feb 2008 20:30:00 GMT

Yesterday we took a look at the most notable documentaries playing at this year’s SXSW Film Festival, which kicks off a week from today in Austin, TX. Today let’s check out the narrative films. Unfortunately, some of the movies we’re most excited about don’t have trailers available online, but here’s the best of the rest.

21

Truthfully, we’re torn about this one. It’s based on the terrific nonfiction thriller Bringing Down the House, about a team of MIT students who become blackjack experts in Las Vegas, and it may actually contain the first bearable Kevin Spacey performance in years. But the casting of bland Jim Sturgess and Kate Bosworth has us wincing, particularly since the real MIT Blackjack Team was made up primarily of Asian-Americans.

Mister Lonely

A Michael Jackson impersonator falls for a Marilyn Monroe lookalike. "Meanwhile, a miracle is happening somewhere in a Latin American jungle." It could be unbearably precious, but it is Harmony Korine's first movie since Julien Donkey-Boy, so we can’t help but be curious.

New Orleans Mon Amour

Director Michael Almereyda made the little-seen but weirdly compelling Happy Here and Now (which played SXSW in 2003) in pre-Katrina New Orleans. After the flood, Almereyda returns to the Crescent City tell the story of a surgeon trying to get his life back together as the city tries to do the same.

Goliath

Austin’s own Zellner Brothers may not be following the Coens to the Oscar podium anytime soon, but they do have their own special brand of comedic deadpan. Their latest feature Goliath, about a man searching for his lost cat, got a mixed reaction when it premiered at Sundance, but the hometown crowd is sure to be on their side.

Baghead

Greta Gerwig is the undisputed queen of mumblecore, starring in no less than three such films at this year’s SXSW festival. One of them is the Duplass Brothers’ Baghead, the mumblecore horror-comedy about four friends spending a weekend at a woodsy cabin, where they are menaced by a man with a paper bag over his head. Even if you can’t stand these sort of inarticulate twentysomething characters, you can at least hold out hope that Baghead will do something terrible to them.

As a bonus, here’s a short film that will be playing this year’s festival. It’s called "I Slammed My Dick in the Drawer." We think it’s self-explanatory.

Sundance Roundup: Day 10

Scott Von Doviak — Sat, 26 Jan 2008 20:46:00 GMT

The grumbling continues as Sundance winds down, with the L.A. Times documenting these signs of festival fatigue: “a man snoring loudly through a morning screening of the steroid documentary Bigger, Faster, Stronger; festival volunteers exchanging flu remedies; journalists plotting their escapes days ahead of schedule.” Marketing execs are whining about the lack of “standout” films, which might actually mean the focus this year was on challenging, hard-to-pin-down fare rather than commercially viable movies. Black is white, up is down, and the suits aren’t having any of it!

In keeping with the unpredictable nature of this year’s edition of Sundance, Sony Pictures Classics has bought the rights to Baghead – you remember, the mumblecore horror movie – for a cool million bucks. If you have any lo-fi genre scripts in the drawer – The Hefty Bag from Outer Space, perhaps – this might be the time to dig them out and start shooting.

The “triumph of the little guy” storyline continued on other fronts, as well. What Just Happened? is not only the question many Sundance hopefuls are now asking themselves, it’s the name of one of those big buzz movies that left town without a peep. Barry Levinson’s movie industry satire starring Robert De Niro comes up wanting when compared to smaller-scale show biz spoof The Deal starring and co-written by William H. Macy, says Chris Knight of Canada’s National Post. One reason the Levinson picture may not have sold, Variety explains, is that this thing called the Internet on which “bloggers” publish their thoughts on such films is having an influence on potential buyers. Sounds like crazy talk to us.

Sundance Roundup: Day 9

Scott Von Doviak — Fri, 25 Jan 2008 20:30:00 GMT

As Sundance 2008 winds down, a consensus seems to be emerging that this year’s edition of the hallowed film festival was actually something of a bummer. The movies that came in with the most hype and the biggest names attached mostly ended up slinking out of town with no buzz and no deal. Festival director Geoff Gilmore poo-pooed the pre-fest conventional wisdom that the writers’ strike would lead to a buying frenzy, telling the Hollywood Reporter, “The notion that people would respond to one crisis by possibly creating another just seemed silly to me.”

The Boston Globe’s Ty Burr writes that “a free-floating cynicism had already been hardening into This Year's Attitude. To be impassioned about a movie was to be suspect, at least in the festival's early going.” Burr reserves most of his praise for the documentaries, notably Young@Heart, about these unlikely rock and rollers:

If you’ve been wondering when the first mumblecore horror movie would arrive, wonder no more! Indiewire has the scoop on Baghead, in which a group of friends sharing a mountain cabin are menaced by, yes, “a stranger with a rumpled brown paper bag over his head.” Actually, that does sound kind of scary.