Oren Moverman

Time Out of Mind

Late in Oren Moverman’s Time Out of Mind, an addled Richard Gere panhandles in the middle of a busy Manhattan street, shaking a cup and asking for change, occasionally attempting to engage with passerby, and being utterly ignored in the process. Moverman and Gere filmed this scene – and others like it – guerilla style, not shutting down streets or blocking off sets, simply sending Gere into the fray in costume and character. Few people noticed that the older homeless gentleman asking them for change was actually Richard Gere, and even those that gave him money scooted by without locking eyes with the man, too embarrassed or occupied or blind to see the desperate human being standing in front of them. That’s entirely the point of Moverman’s latest, which chronicles Gere’s George as he shambles and shuffles around New York City, scrapping by for yet another day and night. Homeless and jobless for many years, George has found a few tricks to keep himself alive and in relatively fine health, but when the film opens, his latest scam – squatting in the abandoned apartment of a woman he may or may not know – has come to an end. Narratively loose, the film follows George through an indeterminate number of days (or weeks, or months, it’s kept purposely vague) as he attempts to carve out even the most basic existence.

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Love & Mercy

“Oh, the loneliness in this world / Well, it’s just not fair” “Lonely. Scared. Frightened.” If we take Bill Pohlad’s impressive Love & Mercy at face value – which is difficult to do with any biopic, particularly ones that are as complicated and complex as Pohlad’s feature – Beach Boy Brian Wilson wrote both of those lines during a fraught time in his life. The first lyric is taken from his song “Love And Mercy,” from which Pohlad’s film (obviously) takes its name, the second is scribbled on a note early in the feature. Both lines reflect the pain Wilson felt throughout his life, an emotional and mental ailing that eventually pushed the musical genius into a lifestyle that approached that of a recluse, a captive and a victim. The story of the Beach Boys proper has been put to the screen before, but Pohlad’s film (beautifully scripted by Oren Moverman and Michael A. Lerner) is concerned with Wilson, the unofficial leader of the band and its primary songwriter during its most successful years. Wilson, for all his success and genius (and a lot of that is on display in the film, an addition that will please Wilson’s fans and help clarify the depth of his talent to viewers who are perhaps not familiar with him), has long suffered from anxiety attacks and auditory hallucinations (he hears voices, to put it crassly), and Pohlad’s film traces the beginning of those issues up through their unexpected consequences with care and respect. […]

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cate

It’s no secret that most of the people who make their living in the entertainment industry are an ambitious, unsatisfied lot who often dream of expanding their skill set and becoming famous for more than just the original trade that brought them to the dance. It’s why models become DJs, athletes become rappers, and rock stars become the villain of Freejack. And it’s why creative types who have become famous in the film industry for working in front of the camera eventually always want to take a stab at stepping behind it. Given this trend, it’s no surprise that an actress as accomplished as Cate Blanchett would be looking to try her hand at directing a film. All of the awards and accolades she gets for her performances have to be blending together at this point, after all. And stop for a minute to think about how many great directors she’s closely watched work. Directing a movie is something she can do, for sure. She’s got this. So that’s why Deadline is reporting that she’s all set to follow in the footsteps of the Robert Redfords and the George Clooneys that have come before her by directing her first feature, The Dinner.

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Word on the street is that Oren Moverman‘s Rampart is pretty damned good. It stars Woody Harrelson as an LAPD cop in the wake of the Rampart scandal in the 1990s. It also features Ice Cube, who doesn’t at all still represent the LA of the early 1990s. The thing is, even if the movie were terrible, this poster would still be awesome. It looks absolutely stunning, and we’re giving one away. Plus, one (1) lucky winner will get a Harrelson-signed script to go with their new wall art. How do you enter? Excellent rhetorical question! Here’s how:

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Archer gets Justified

What is Movie News After Dark? It’s a nightly collection of movie news, notes and links that will make you very happy that you decided to stop and take a look at what’s going on. Seriously, it’s the bringer of joy. We begin tonight with a shot from this evening’s episode of Archer, which has mixed a little bit of Justified into its plot-lines. The AV Club has begun a campaign for a cross-over comic that would team Sterling Archer with Raylan Givens. I support this idea 100%.

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Over two years ago we got to see a whole new side of Ben Foster. With director Oren Moverman‘s The Messenger, Foster gave a quiet and powerful performance, right next to Woody Harrelson, who also showed something we hadn’t seen from him before. With Rampart, the duo continue to explore new territory. Unless I’m mistaken, we haven’t seen Harrelson play a damaged and narcissistic cop, and the same goes for Foster in an unrecognizable appearance as a homeless vet. That type of transformation and change is something Foster seems to embrace. If you know about Oren Moverman’s work ethic, then you’re well-aware he searches for honesty, which Ben Foster obviously has great admiration for. Here’s what Ben Foster had to say about reacting, never having enough time to prepare, and how any director who says they have the answer is full of shit:

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Writer-director Oren Moverman’s terrific feature debut, The Messenger, was about trying not to deal with grief, while his character-driven “cop” drama, Rampart, is about attempting to not deal with everything. The lead of the film, Dave Brown, rejects change in a major time of change. Despite Moverman using his latest film to track a far more morally corrupted character than he previously dealt with in Messenger, he still shows an equal measure of empathy. The film follows Woody Harrelson‘s Dave Brown, as he confronts both a new time and a new way of life. Brown, a former soldier who sees himself as something of a man’s man, is unwilling to get with the times. With the true-life Rampart scandals serving as motivation, the LAPD is making major changes – ones that Brown won’t (or can’t) go along with. The cop is a sickly, paranoia-driven enigma who (forgive the cheesy as all hell expression) plays by his own nonexistent rules. Dave is stubborn, racist, fearful, and believes that he’s someone important enough to be spied on. He’s a real bastard.

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Only mere hours ago, I watched Oren Moverman‘s Rampart. It’s much, much different from his fantastic 2008 directorial debut, The Messenger. Since I’ve only seen the film so recently, I’m not 100% comfortable discussing it at length. It’s a film that needs time…but I can say that this trailer is not the best representation of Moverman’s meditative drama. There is no hard rock music in the movie, it’s not fast paced, and the film is not as clichéd as the trailer suggests. If this trailer gets anything across right, it’s all the hints at how great Woody Harrelson is as Dave Brown. Harrelson fills a through-and-through bastard with a surprising amount of humanity, and even a little bit of uncomfortable empathy. It’s a powerful performance. But does Harrelson really look like the most corrupt cop you’ve ever seen on screen? You be the judge:

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There’s dirty cops and there’s bad cops, and there’s a difference between the two. In Oren Moverman’s Rampart, a large-scale scandal threatens to ruin an entire police division, but the possibly-orchestrated (and conveniently televised) fall from grace of a single, uninvolved officer forms the plot of the filmmaker’s sluggish and sloppy second feature. Writer and director Moverman again teams with his The Messenger star, Woody Harrelson, as maybe-fall guy Dave Brown, a renegade cop unhinged by the possibility that he’s been bad all along, he just didn’t know it. Though Rampart makes copious mention of the complicated real-life scandal that shook up Los Angeles and the LAPD in the 90s, the film itself instead focuses on the fictional tale of Harrelson’s Dave Brown. An old school cop, a former solider who spends a touch too much time harkening back to his Vietnam years, Harrelson fills out Dave with enough of that classic Woody charm to keep him endlessly watchable, but frequently hard to care about (Harrelson will likely get some Oscar buzz, and if anything in this film is awards-worthy, it’s Harrelson’s work). A cigarette-chomping, skirt-chasing alcoholic, Dave doesn’t have much to recommend him besides swagger and a smirk, but even that can’t save him when he’s caught on tape positively kicking the crap out of a citizen who (at least on the video) appears to be doing nothing wrong. Sent to the media and popping up on newscasts across the city, Dave’s bad behavior may be ruining his life, […]

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Earlier this morning, my partner in LA film festival crime, the lovely Ms. Allison Loring, posted her list of Most Anticipated Films from this year’s upcoming AFI FEST presented by Audi. Of course, many of our choices overlap (Shame, Butter, Rampart), but we part ways when it comes to some of the smaller films at the festival. For all the big, Oscar bait flicks (J. Edgar) or the wang- and soul-baring Fass-outings (Shame again, always Shame), there are a few films that I’ve been positively rabid to see (Alps, Michael) that might not yet have the cache value and audience awareness of those other films. From the festival’s incredible list of 110 films, I’ve narrowed down my list to ten films that are my bonafide Most Anticipated Films of the festival. Like any list, I am sure that some of you perusing it will be displeased, weighing in on titles I’m a fool to miss. But hold your wrath for a few days, because many of the best titles of the fest are ones I’ve already seen, and those films might just crop up in an unexpected place (like, oh, another list). AFI FEST will run from November 3rd through the 10th in Hollywood, with all screenings taking place at The Chinese, the Chinese 6 Theatres, and the Egyptian Theatre. Tickets for all screenings are free (and available starting today, October 27, right HERE). The complete schedule grid is now online for the festival, which you can check out HERE. After the break, […]

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As it turns out, I’ve been slightly remiss when it comes to praising this year’s 25th edition of AFI FEST 2011 presented by Audi. I’ve tossed off comments about how the festival gets better with every passing year, but in the wake of today’s announcement of the festival’s Centerpiece Galas and Special Screenings, I’ve realized that I have not gone far enough. AFI FEST has not just gotten better this year, the festival has made a dramatic jump to top-tier status, rolling out titles that play like a cinephile’s Christmas list for 2011. Today’s lineup announcement is essentially a “best-of” list of this year’s festival favorites, including Michel Hazanavicius‘s The Artist, Steve McQueen‘s Shame, Oren Moverman‘s Rampart, Lynne Ramsay‘s We Need to Talk About Kevin, Roman Polanski‘s Carnage, Simon Curtis‘s My Week with Marilyn, Lars von Trier’s Melancholia, Gerardo Naranjo’s Miss Bala, and Wim Wenders‘s Pina. AFI FEST will run from November 3rd through the 10th in Hollywood, with all screenings taking place at The Chinese, the Chinese 6 Theatres, and the Egyptian Theatre. The best part? Tickets for all screenings are free (and available starting October 27). After the break, check out the full list, including descriptions and showtimes, of the films to be featured as AFI FEST Centerpiece Galas and Special Screenings.

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It’s Academy Awards time again, and even though we all know the awards are basically an irrelevant exercise in mutual masturbation it’s still fun to watch. This year sees a wide variety of films gain entry into Oscar history via nominations for Best Screenplay, Original and Adapted. Some deserve the honor, while others are based on the novel “Push” by Sapphire.

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messenger-review

Oren Moverman’s domestic war drama is, put simply, one of the most powerful experiences to be had at the movies this year.

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published: 11.21.2014
D
published: 11.21.2014
B+
published: 11.19.2014
C+
published: 11.19.2014
B-, C


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