Nothing's All Bad (Smukke mennesker)

A Zentropa25 production, in association with New Danish Screen. (International sales: Trustnordisk, Hvidovre, Denmark.) Produced by Meta Louise Foldager, Stine Meldgaard Madsen. Directed, written by Mikkel Munch-Fals.
With: Bodil Jorgensen, Henrik Prip, Mille Hoffmeyer Lehfeldt, Sebastian Jessen, Stine Fischer Christensen.
Rookie Danish scribe-helmer Mikkel Munch-Fals affectingly explores the relationship between sexuality and loneliness in "Nothing's All Bad," which thoughtfully tackles quite a few thorny issues that would trip up lesser filmmakers. Pic focuses on four Danes of different ages whose stories intersect (often, as it turns out, in ironic ways), making for a tonally complex, thematically wide-ranging yet structurally compact item. Pic won a special mention at the San Sebastian fest, where it was part of the Zabaltegi New Directors lineup, and further fest travel should be good, with an off chance of Euro pickups.

Pic is divided into several chapters whose titles come from common idiomatic phrases (the first is called, "My Wiring Has Always Been a Bit Off," which is what one of the protags says to his shrink when asked to explain his strange behavior). Given the tightly drawn plotlines and superb editing, this artificial superstructure is not really necessary, with the exception of the film's prologue and epilogue, which contain a separate, quietly poignant tale that is related to the main story only on a thematic level; its inclusion signals the helmer's willingness to experiment with narrative form while keeping the film's contents very much of a piece.

A beautiful woman in her 30s, Anna (Mille Hoffmeyer Lehfeldt), goes through the difficult process of having a breast removed. Munch-Fals explains everything in a striking overhead shot of Anna as she sits naked in the tub with only one breast left. Later, another arresting shot conveys worlds of sadness and pain as Anna uses two mirrors to make it appear as though she has two breasts again.

During a walk in the park, Anna is confronted with clammy, bespectacled Anders (Henrik Prip), who can't control his urges to expose himself. Anders' young son, the impossibly handsome Jonas (Sebastian Jessen), has so much natural sex appeal even prostitutes pay to take him to bed. Both dad and son clearly have sexuality-related issues that have warped their personalities in strange yet understandable ways.

The father-son pairing is neatly mirrored, as the elderly woman we've spied in some early scenes, Ingeborg (Bodil Jorgensen), turns out to be Anna's mother. Ingeborg has to work hard to fight the loneliness following her retirement and the unexpected death of her hubby.

Both Ingeborg and Anna struggle to cope with something that defined their sexuality but has suddenly become absent, while the two men wrestle with the opposite, as their sexuality is defined by urges and factors beyond their own comprehension and control. Though the protags' struggles are treated seriously, Munch-Fals often looks at their lives at a somewhat ironic remove, not only in the mise-en-scene and dialogue but also in the surprising ways the stories intersect.

Strong thesps play everything completely straight, ensuring that the uncomfortable places the film goes feel like necessary stops for their characters (some of the themes treated here were already present in the helmer's shorts). Pic might gain an NC-17 rating Stateside for some of its topics, but most of the actual sex occurs offscreen.

Though there are two clear parent-child relationships, the four protags all seem to be pretty much alone with their problems, which Munch-Fals exploits to the max in the deliciously ironic Yuletide-set finale.

Dark lensing by Eric Kress ("The Girl With the Dragon Tattoo") favors medium shots and closeups that stay close to the actors, adding a slightly claustrophobic edge that works well. Other tech contribs are fine.

Danish title wasn't translated onscreen, though press material refers to the pic as "Nothing's All Bad." Original title roughly translates as "Beautiful People."

Camera (color), Eric Kress; editor, Carsten Sosted; music, Jomi Massage; production designer, Charlotte Bech; costume designer, Rikke Simonsen; associate producer, Jonas Bagger. Reviewed at San Sebastian Film Festival (Zabaltegi New Directors), Sept. 19, 2010. Running time: 91 MIN.

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I Loved Lucy

A Laguna Playhouse presentation of a play in one act by Lee Tannen, from his book of the same name. Directed by Todd Weeks.
Lee Tannen - Jeffry Denman Lucille Ball - Diane J. Findlay
"I Loved Lucy," Lee Tannen's dramatized memoir of his latter-day friendship with Lucille Ball (1911-89), could have been so much more than a pleasant trifle. Even die-hard fans, blissed out simply to spend 90 minutes in the company of the redhead, as impressively incarnated by Diane J. Findlay, may find themselves wishing both text and Laguna Playhouse production were truly grappling with the issues raised: a legend in winter, a great fan to the rescue.

Tannen (Jeffry Denman), an East Coast ad man obsessed with the rerun antics of Mr. and Mrs. Ricky Ricardo, uses a remote family connection to become a fixture at Lucy's Beverly Hills manse. There, while husband Gary Morton runs around town drumming up deals for projects such as the disastrous final ABC series, Tannen serves as backgammon partner, sharer of cheap meals and factotum to the increasingly crotchety and erratic star.

Findlay is an astonishing lookalike for Ball, especially in her quick-on-the-draw deadpan takes of disapproval. She can't quite hit Ball's gravelly vocal depths (could Tom Waits?), but her single coughed "Ha!" rings true, as does the solicitude for the young, doting "extra man" at the backgammon table.

The unexplored theme is the relationship between idol and idolizer when intimacy develops and the pre-set roles get blurry. Therein lies danger, and in fact the strongest moments are when Tannen forgets himself and behaves with lese majeste, or jokes about Lucy's age in a way she doesn't find funny.

But things get no richer, let alone darker; this is Roxbury Drive, not "Sunset Blvd." For that matter, self-centered afternoons with Ball were a far cry from "Tuesdays With Morrie." If Tannen changed, or learned anything, over 10 years of grilled cheese and franks 'n' beans, we can't infer it from Denman's one-note sunny Jim performance, which constantly invites us

Sets and costumes, Bruce Goodrich; lighting, Paulie Jenkins; sound, Corinne Carrillo; projections, Kevin Williams; stage manager, Jennifer Ellen Butler. Opened, reviewed Oct. 9, 2010. Runs through Oct. 31. Running time: 1 HOUR, 30 MIN.

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Stan Brooks files for bankruptcy

Stan Brooks has filed for bankruptcy protection after settlement talks broke down between the producer and the American Federation of Television & Radio Artists over unpaid "Sordid Lives" residuals.

Brooks disclosed Monday that his Once Upon a Time Films was taking the action "with tremendous sadness and regret."

AFTRA announced Monday that it had withdrawn its offer to settle with Brooks, who's been threatening since August to file for bankruptcy if Hollywood unions would not reduce the $1.6 million he owes in unpaid residuals, health and retirement contributions and late payment penalties. Under an arbitrator's ruling in August, AFTRA members are owed $1.2 million and another $400,000 going the Directors Guild of America, the Writers Guild of America and the IATSE Motion Picture Industry Pension and Health Plan.

Brooks' attorney Kenneth Suddleson told Daily Variety on Monday that his client is being forced to seek bankruptcy protection because the unions have been unwilling to engage in serious negotiations. "This is very unfortunate," he added.

Brooks had asserted last week that he had that he had nearly doubled his original $242,000 offer to settle nonpayment of the $1.6 million. Negotiations continued over the weekend but AFTRA alleged the talks were unproductive due to a lack of specifics from Brooks.

"Despite AFTRA's serious good faith effort to carefully review and understand the merits and practical implications of the settlement offer to the cast members of 'Sordid Lives: The Series,' Once Upon A Time Films, Ltd., and its attorneys have refused to meaningfully address our basic concerns--including clarification of what exactly the proposed settlement sum consists of and how future residual payments to performers were to be guaranteed and paid--and have withdrawn their offer to settle," AFTRA said.

Suddleson disputed AFTRA's characterization, asserting that Brooks' offer has been explained in thorough detail.

The union also said it's prepared to move forward with confirmation of the stipulated award, which is scheduled for Oct. 22 in Los Angeles Superior Court.

Brooks has asserted his financial difficulties stem from the production company losing $700,000 due to the 2008 bankruptcy of payroll company Axium Intl. while "Sordid Lives" was shooting. He claims that production was completed thanks to his mortgaging his home and securities.

The comedy series premiered on Logo in 2008 and starred Bonnie Bedelia, the late Rue McClanahan, Olivia Newton-John, Beth Grant and Caroline Rhea.

Brooks said in a statement, "It is with tremendous sadness and regret that we announce that Once Upon a Time Films has been forced to follow the path of other respected companies affected by the Axium collapse and seek relief under the insolvency laws, which we have done this afternoon. After lengthy negotiations all weekend and with many extended deadlines, at noon today it became clear that a deal was not attainable. All of us at Once Upon A Time are proud of our 21 years of making award-winning movies and telling stories - and thank every cast, crew, network and creative partner we've collaborated with over this time."

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The Twilight Saga: Eclipse (Two-Disc Special Edition)

The third installment of Stephenie Meyer's blockbuster vampire series is its most action packed, both in terms of fight scenes and human-vampire-werewolf lovin'. In Eclipse, the vampiric Cullen clan and the werewolves--their sworn enemies--unite against an army of "newborn" vampires, whose remnants of human blood in their veins makes them stronger and more uncontrollable, causing a string of murders in the Seattle area. They've been created by the vengeful vampire Victoria (Bryce Dallas Howard, taking over for Rachelle Lefevre), still keen on destroying human Bella (Kristen Stewart). Thus, Bella is under careful watch, and her undead love Edward (Robert Pattinson) and werewolf best friend Jacob (Taylor Lautner) spend a lot of time arguing over who is the better man for her. (In one hilarious scene where Bella's freezing and only Jacob has the lupine body heat to warm her, he looks over at Edward and cracks, "I am hotter than you." Go Team Jacob!) But there's more at the heart of the triangle than love: Bella, against Edward's warnings, doesn't want to grow older than him and would willingly give up contact with her parents, the chance to grow old with children, and more to be turned into a bloodthirsty vampire. (Jacob's trump card is that Bella wouldn't have to give up her mortality to be with him.) But the unfolding of this love triangle is even clumsier than it was on the page; you're never really convinced Bella has romantic feelings for Jacob, even during their climactic kiss on top of the mountain. This is likely to confuse non-readers of the book series, as Stewart emotes nothing that intones there's a real competition here (clearly, she's Team Edward).

Pattinson, on the other hand, appears to have overcome his awkwardness to become a much cooler Edward; Howard, while missing Lefevre's mischief as Victoria, brings her own touch of soft-spoken manipulation; and Billy Burke, as Bella's father Charlie, continues to steal every scene he's in. The other Cullens also get far more play here, notably Rosalie (Nikki Reed), whose revealing back story is touching and tragic, and Jasper (Jackson Rathbone), who trains everyone in combat and who, halfway through the movie, adopts a sudden Southern accent that he didn't have before, once it's revealed he was a Confederate soldier (on a side note, it's mentioned in the books that Jasper can calm the emotions of others, but that trait isn't used in the movie). The climactic fight scene is well staged by director David Slade (30 Days of Night, Hard Candy); the violence, while not bloody, is still more abundant and disturbing than in the previous films; and the sex, while not actually happening between anyone (yet), is certainly on everyone's mind (but Edward wants to get married first). It seems the characters, and the series, are growing up. --Ellen A. Kim

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Giamatti, Woods are 'Too Big' for HBO

HBO has rounded out its cast for its Wall Street meltdown telepic "Too Big to Fail," with roles that represent a host of public figures as key characters.

James Woods has been tapped to play Lehman Brothers CEO Dick Fuld. Paul Giamatti will play Federal Reserve chairman Ben Bernanke and Ed Asner will move into a much higher tax bracket in the role of Warren Buffett.

Pic, to be helmed by Curtis Hanson, offers an intimate look at the financial crisis of 2008 and the group of powerbrokers who decided the fate of the world's economy in a matter of a few weeks.

Pic mostly revolves around the work of President George W. Bush's Treasury Secretary Henry Paulson, played by William Hurt.

Other additions include Billy Crudup as Obama administration Treasury Secretary Timothy Geithner, Dan Hedaya as Massachusetts congressman Barney Frank, Tony Shalhoub as Morgan Stanley topper John Mack and Kathy Baker as Paulson's wife, Wendy.

Topher Grace, Cynthia Nixon, Michael O'Keefe and Joey Slotnick have supporting roles.

Telepic, likely to air in 2011, is set to begin production in New York over the next two weeks.

"Breaking Bad" scribe Peter Gould penned the script adapted from Andrew Ross Sorkin's book "Too Big to Fail." Hanson is exec producing with Paula Weinstein and Jeffrey Levine. HBO is producing with Spring Creek Prods.

Ezra Swerdlow is producing with Carol Fenelon set as co-exec producer. Vanity Fair contributing editor Bethany McLean and New York Times columnist Joe Nocera have been tapped as consultants.

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Monsters, Inc. [VHS]

Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley find his world disrupted.
Plot Synopsis: James P. Sullivan (AKA "Sulley") and Mike Wazowski pick up their paychecks at Monsters Inc., the utility company that generates energy from the goose bumps of children. Sulley, the No. 1 scream-generator at the plant accidentally lets in a little girl into the monster world. Since monsters are actually terrified of children it's a major cause for alarm and a major headache for Sulley and Mike.

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