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Preview: September Releases

September means the start of Oscar season, which is very good for fans of independent film. Films with Oscar potential start getting released, which means the cream of the crop for independent films trying to get a jump on the Hollywood Oscar bait. This month, we see releases from high profile directors like David Cronenberg, Paul Haggis, Ang Lee, and Wes Anderson. We also see first-time directors take a stab, and actors like Jeff Garlin, Ray McKinnon, and Sean Penn stepping behind the camera. There are plenty of foreign films and documentaries to get excited about in edition to the more prominent releases.

September 7^th

Featured Release- Fierce People:

Debuting at the 2005 Tribeca Film Festival, Fierce People was originaly scheduled as a late 2005 release. But issues with distributor Lions Gate Films kept Griffin Dunne’s film on the shelf, and now, two years later, this is finally getting released in theaters. Such a long delay in release is often a harbinger of a terrible movie (see The Alamo, All the King’s Men, and Goya’s Ghosts), but a trailer like this assuaged all of my fears about Fierce People.

With a screenplay by Dirk Wittenborn adapted from his own novel, Fierce People is actor Griffin Dunne’s second directorial effort in the decade since Practical Magic came out. Dunne’s films are known for being charming and clever, and this one seems to have a lot more depth and meaning than some of his earlier films. Diane Lane has proven herself an extremely talented actress, and should be outstanding here. Anton Yelchin’s breakthrough as a child star was Hearts in Atlantis, and he has done several TV and film roles since then. The cast also includes Donald Sutherland in one of his most interesting parts in a long time, as well as Chris Evans, Elizabeth Perkins, and Kristen Stewart.

Also Opening:

The Bubble- An Israeli film, The Bubble is writer/director Eyton Fox’s ode to Tel Aviv. The film explores the lives of a diverse group of people growing up in the city as they face the reality of the extreme adversity they must face everyday.

The Good Night- The directorial debut of Jake Paltrow, brother of Gwyneth, is a comedy about a former pop star (Martin Freeman) who has a mid-life crisis. He starts having dreams about a beautiful woman (Ms. Paltrow) who is madly in love with him, and he tries to make those dreams a reality. Also starring Penelope Cruz, Simon Pegg, and Danny Devito.

Hatchet- Featuring a cast of unknowns, Hatchet doesn’t seem to be anything more than a generic horror flick. Most notable because director Adam Green had to severely edit his film to avoid an NC-17 rating, this is the story of tourists who get stranded in the wilderness and bad things start to happent to them.

I Want Someone to Eat Cheese With- Jeff Garlin stars in his own directorial debut, based on his one-man show a romantic comedy about a comedian who still lives with his mother. It should be funny, especially considering the cast that includes Amy Sedaris and Sarah Silverman.

In the Shadow of the Moon- An in depth look at the Apollo Moon Landing marks David Sington’s directorial debut. This documentary features interviews with Buzz Aldrin and others involved in the event, as well as lots of gorgeous footage shot in space.

The Inner Life of Martin Frost- This darkly comedic fantasy stars David Thewliss as a writer desperately trying to finish his novel. Word is that the glorious visuals and Thewliss’ performance do not make up for the skewed and absurd logic driving the film.

Milarepa- No film critic has as much clout as the Dalai Lama, who raved about this film, which is based on centuries-old Buddhist traditions. It tells the story of an angry man who sets out to learn black magic, and becomes Tibet’s greatest saint.

September 14^th

Featured Release- Eastern Promises:

After more than twenty years of psychological horrors and thrillers that were both terrifying and absurd, David Cronenberg threw everyone a curve ball when he directed A History of Violence. Yes, it had Cronenberg’s trademark intensity and violence, but it was also grounded in reality, and, frankly, outstanding. Cronenberg has decided to follow up AHOV with another gritty and violent story about real people, Eastern Promises, written by Steven Knight, the writer of another dark, intense drama, Stephen Frears’ Dirty Pretty Things. Eastern Promises looks, if it’s possible, to be Cronenberg’s best film yet.

Cronenberg proved that he can direct dark realism as well as he can over-the-top sci-fi thrillers, and Eastern Promises might be his best film ever. Ever since Naomi Watts made her breakthrough in David Lynch’s Mullholand Drive she has taken on several challenging and complex parts and given excellent performances in films like 21 Grams and The Painted Veil. She looks to be at her best in this film, along with Viggo Mortenson, who can actually give a good performance when he’s not playing off of magical elves. Eastern Promises also stars Vincent Cassel and Armin Mueller-Stahl.

Also Opening:

December Boys- Daniel Radcliffe moves away from Harry Potter with style, in this film about a group of orphans who get to take a trip to the beach, but are torn apart by the possibility of parents. For More on December Boys, Read its Trailer Talk.

Forever- A documentary about Pere-Lachaise, the most famous cemetery in the world, from Peruvian filmmaker Heddy Honigmann. The resting place of Jim Morrison and Oscar Wilde, among others, explores the history of the cemetery and the countless tourists who visit everyday.

Great World of Sound- A comedy about an aspiring record producer starring Pat Healy, written and directed by Craig Zobel, one of the guys behind Homestar Runner. If that’s not enough to make you want to see this, there’s nothing else I can say.

The Hunting Party- Richard Gere, Terrence Howard, and Jesse Eisenberg star as reporters trying to find a wanted war criminal in Bosnia, a search that proves far easier than expected. Richard Shepard wrote and directed this politically motivated mix of comedy and drama.

In the Valley of Elah- I’ll never trust Paul Haggis again after Crash, but this story of an officer investigating the mysterious death of his son looks intriguing. With a cast that includes Tommy Lee Jones, Susan Sarandon, and Charlize Theron, this could be a great movie if Haggis doesn’t screw it up.

Iris and Abby- A couple that marries too quickly falls apart in a mess of affairs, therapy, and meddling inlaws. Written by and starring Jennifer Westfeldt, this looks a lot better than her last film, Kissing Jessica Stein.

King of California- The relationship between a girl and her mentally unstable father is the focus of this exploration of a small Southern California town. Evan Rachel Wood and Michael Douglas star in a film produced by Alexander Payne.

Moondance Alexander- A girl with a funny name finds a horse who she thinks can be a world class jumper. For more info, watch Flicker or Black Beauty.

Moving McAllister- A road trip comedy about a law intern who agrees to drive his boss’s possessions from Miami to California, along with his niece, who wants to move to Hollywood. From the Mormons who brought you Pride and Prejudice: A Latter Day Comedy, this one also stars John Heder and Mila Kunis.

Silk- Michael Pitt stars as a silkworm smuggler in the 19^th Century, who begins an affair with a concubine, and has to keep it secret from his wife, played by Keira Knightley. This romantic period piece is Francois Girard’s first film since The Red Violin.

September 21^st

Featured Release- Trade

In 2004, Jose Rivera’s superb screenplay about young Che Guevara, The Motorcycle Diaries, was the base upon which one of the best films of the year was built. Rivera’s followup to that film is Trade, a gruelingly intense exploration of the world of black market sex trafficking, which Rivera adapted from an article by Peter Landesman. German director Marco Kreuzpaintner will make his English-speaking debut, which looks to be one of the most powerful films of the year.

An award winner at the Munich Film Festival, Trade will stand out in a year of highly political films. Kevin Kline is taking on one of his best film roles ever, and looks like he is going to give an incredible performance. Paulina Gaitan and Cesar Ramos also star, in what could be breakthrough roles for them as a young girl who is kidnapped by human traffickers, and her brother who will do anything to get her back. If Kreuzpaintner does Rivera’s script justice, then Trade will be a gripping and emotional experience.

Also Opening:

Antonia- Four female rappers try to make it big in Brazil, attempting to overcome the adversity they face in the forms of racism, sexism, and violence. It’s like Dreamgirls, but Brazilian, intense, and, hopefully, good.

Beauty Remains- Chinese American Ann Hu directed this examination of two sisters, one legitimate and the other a bastard, who are forced to live with each other in accordance with their father’s will. The two clash over everything, including one girls budding relationship with a rich young man, a relationship the other girl tries to sabotage.

Into the Wild- Sean Penn adapted John Krakauer’s book about the true story of Chris McCandless, who died in the Alaskan wilderness after abandoning his family. Emile Hirsch stars in this grueling drama, which Penn directed.

The Jane Austen Book Club- The directorial debut of writer Robin Swicord is adapted from the best selling book about six women who bond over Jane Austen’s body of work. Starring Maria Bello and Emily Blunt, this movie will soon be located in the dictionary next to “chick flick.”

The Last Winter- A sci-fi horror film with political motivations, Larry Fesendon’s film is about oil drillers in Alaska who stumble upon an unspeakable evil. Think An Inconvenient Truth meets Jeepers Creepers, starring Ron Perlman.

The Man of my Life- The annual vacation of married couple Frederic and Frederique is disturbed by the arrival of a new neighbor, Hugo, who is gay. Frederic starts spending more and more time with Hugo, arousing suspicion in Frederique.

Randy and the Mob- Because there are never enough mob comedies, Randy, a naïve suburbanite, gets involved with the mafia, and hilarious consequences ensue. Ray McKinnon wrote, directed, and stars in this thoroughly unoriginal film.

September 28^th

Featured Release- Lust, Caution

Ang Lee is certainly one of the best filmmakers working today, and you could argue that he is the best. The director of two of the best films of the decade, Crouching Tiger, Hidden Dragon, and Brokeback Mountain, Lee’s films remarkable for how different they are, one a martial arts action film, the other a quiet drama about a forbidden romance, not to mention Sense and Sensibility, which was adapted from a Jane Austen novel. Lee continues showing the diversity of his talent with Lust, Caution, an erotic spy thriller. That Lee’s film is rated NC-17 might be bad news for its box-office chances, but it is evidence that Lee is holding nothing back in putting his vision on the screen.

Wei Tang could not have picked a better film, or a better role, to make her debut. She has a fascinating part, is being directed by a brilliant director, and is starring against one of China’s best actors, Tony Leung. Leung, who has starred in several Wong Kar Wai films, looks to make his breakthrough to American audiences. Lust, Caution is one of the most anticipated films of the year, and that anticipation has only increased because of the shocking NC-17 rating it received. It is very likely that Lust, Caution will be the best film of the year.

Also Opening:

Black Irish- An Irish teenager growing up in Boston tries to hold onto his dreams as his family falls apart. Brendan Gleeson and Melissa Leo star in Brad Gann’s emotional coming-of-age drama.

The Darjeeling Limited- Wes Anderson’s latest follows three estranged brothers bonding during a trip across India. For More Information on The Darjeeling Limited, Read its Trailer Talk.

Goal 2: Living the Dream- Nobody noticed the first one, so it’s hard to say why the second film in the trilogy is getting released. After achieving his goal of playing professional soccer, Santiago Munez falls in love with a reporter and… are you still reading this?

Holly- Ron Livingston stars as a small time crook who gets a shot at the big time when he is hired to escort stolen cargo across Southeast Asia. Things get complicated when he becomes infatuated with a twelve year-old prostitute he sees in a brothel. Ew.

The Price of Sugar- A documentary about the thousands of Haitians brought to the Dominican Republic to harvest sugar cane. Spanish priest Christopher Hartley attempts to organize protests and secure rights for these workers, who are treated like slaves.

Protagonist- Jessica Yu chronicles the lives of four very different men in this documentary that premiered at Sundance. A thief, a martial arts student, a formerly-gay priest, and a political terrorist are the focus of Yu’s complexly structured exploration.

Trailer Talk: Grace is Gone

After winning the audience award at the 2007 Sundance Film Festival, Grace is Gone hits theaters. Anticipation is extremely high, with talk about the possibility of John Cusack scoring his first Oscar nomination. Frankly, based on watching the trailer, I don’t see what the fuss is about.

Haven’t we seen enough indie movies about people overcoming tragedy and trying to survive after losing a loved one? How about parents who don’t know how to deal with their children? And how many road trip movies have there been in the last decade? Too many. Sure, when a movie comes along that brings something new to the table, like Transamerica, or is superbly executed, like Little Miss Sunshine, then I’ll be impressed, but it is hard to drum up excitement over Grace is Gone. John Cusack is an extremely talented actor, and could give a very good performance here, but even with him, there is little about this film that calls out to me.

Grace is Gone is the directorial debut of James C. Strouse, the writer of Lonesome Jim. Clearly he has an affinity for schlubby guys in awkward situations. Grace is Gone could be a great film, an emotional roller coaster, but there is little evidence of that in the trailer, which doesn’t offer much, except John Cusack leaving his dead wife an answering machine message, and that is not a good sign about what to expect from Grace is Gone.

Update: The Coming Days/Weeks

So I’ve been extremely busy moving back into school the last few days, which explains why the posts haven’t been as frequent. I will be swamped with work the next few days, but should still have time to post my September Preview this weekend. In the next week I’ll post reviews of The King of Kong, No End in Sight, and Balls of Fury.

I’m far away from New York, which makes it harder to see independent movies than when I am at home. That means fewer reviews, but I’ll still try and post everyday with either a Trailer Talk or a Commentary, and on Tuesdays I’ll continue with Netflix that Shit!

If you want to let me know what you like and don’t like about this site, what you want more of and what you could do without, let me know. I’m always open to suggestions, and now would be the perfect time. Other than that, I hope you’re doing well, and that you’ve enjoyed my writing.

Review: Resurrecting the Champ

Director Rod Lurie was a film critic for several years before becoming a director. Based on his reputation of writing venomous reviews for “Los Angeles Magazine,” it is likely that Lurie would have panned Resurrecting the Champ, his new film. Of course, this is also based on the assumption that he has eyes, as it is impossible to watch Resurrecting the Champ without realizing what a terrible film it is. Lurie’s latest is a “boxing as metaphor for life” drama that dances around the ring, rarely throwing a punch and never landing a meaningful blow. Far too long a bout, Champ drags on and on, desperately hauling a predictable and uninteresting plot through more than one round too many. Someone should have rung the bell early on this one, putting a mercy rule into effect for the sake of the audience.

Erik (Josh Hartnett) is a sports reporter who is looking for his big break, but is stuck covering boxing for The Denver Times. He finds a homeless man who turns out to be former heavyweight contender Battlin’ Bob Satterfield (Samuel L. Jackson) and calls himself Champ. Erik realizes he has a goldmine on his hands and, with stars in his eyes, starts writing an article about Champ. But his ambition proves to be his downfall, as Champ has a secret that Erik was not expecting.

Some performances make you realize that only that actor could have played that part, and that a lesser performer would have ruined it. Josh Hartnett is the type of actor who proves you right. He is the lesser performer and he butchers this part. At least in The Black Dahlia he wasn’t to blame, but here he is actually given a chance to give a good performance, and he throws it away. Erik is a complex character, living in the shadow of a father he despised, and trying to be a good father to his own son, despite being separated from his wife. Hartnett’s performance has no depth and no authenticity; he plays charming with no charm, mournful with no grief, and anger with no passion. He is a non-entity in his role, and he strips Resurrecting the Champ of any chance of having an emotional impact.

What is most embarrassing is watching Hartnett on screen with Samuel L. Jackson. Jackson is the saving grace of the film, giving his best performance since Jackie Brown. His portrayal of Champ is so powerful and so filled with sadness, but his brief moments of joy light up the screen. He captivates you at every turn, and you understand how he caught the attention of Erik. Watching Jackson on screen with Hartnett is like watching a heavyweight boxing a preschooler; he blows Hartnett out of the ring.

Rod Lurie’s work in film and television is known for its political overtones, but Resurrecting the Champ is more of a meditation on the meaning of the truth and how seemingly innocent lies can destroy you. For the audience, of course, Champ is less a meditation than it is a nap; this movie doesn’t deserve your attention, and seems to realize it, so it never bothers trying. This is a fixed fight from the beginning, and the loser is anyone who is tricked into watching this dull and lifeless film, which pulls every punch and is void of emotional resonance. Instead, it seems content to wait for the bell to ring, which you will pray for too before long.

Trailer Talk: The Darjeeling Limited

Wes Anderson is, to me, quite an enigma. Bottle Rocket, his debut feature, is a cult classic, and Rushmore, his breakthrough, is an outstanding and truly original film. To some people, Anderson’s star kept on rising, but for me, it was all down hill from there. The Royal Tenenbaums is his best received film, his most critically acclaimed film, and the only film for which he received an Oscar nomination. It is also, in my opinion, an unwatchable piece of crap.

I still have faith in Wes Anderson, despite absolutely abhorring his last two films. I believe that he can recapture the magic of Rushmore. The Darjeeling Limited looks like a return to form, with entertaining characters butting heads, in this case, three brothers. Anderson regulars Owen Wilson and Jason Schwartzman return, along with Adrien Brody, as estranged brothers come up with a plan to strengthen their familial bond by taking a train across India. Typical Andersonian (that’s right, Andersonian) wackiness ensues as they try to bond but end up fighting constantly.

The reason I believe that The Darjeeling Limited can be as good as Rushmore is the trailer, which is also the reason I am suspicious. The trailer gives very little of the plot away, giving some very funny moments to whet our appetites, and leaving us wanting more, which, presumably, we will get from the actual film. However, by giving so little about the plot, Anderson does not put to rest fears that The Darjeeling Limited will just be a series of vignettes without a coherent story tying them together. We can only wait and see whether Anderson will continue to test my wavering faith, or if he will finally satisfy the itch I’ve had for another movie of the caliber of Rushmore.

Review: Right at Your Door

There aren’t any horrifying torture scenes in Right at Your Door. There also aren’t car chases or battle sequences; Chris Gorak’s film doesn’t even show the massive explosions that propel the plot, but rather the psychological and emotional ramifications that the large scale terrorist attack has on ordinary people. Modern horror films have become blood baths loaded with gore, but what is truly scary has never been what is laid out before us, but what is obscured and hidden, and it is the unknown that makes Right at Your Door so terrifying, which is what will captivate you from beginning to end.

The small scale of the story is one of the best traits of Gorak’s film, although it occasionally interferes with his vision. Brad (Rory Cochrane) is an unemployed musician living with his girlfriend, Lexi (Mary McCormack). Brad is at home when he hears massive explosions; bombs have gone off all over Los Angeles, and toxic gas is spreading from them. Brad is forced to seal his house completely in order to avoid exposure to the gas, but when Lexi returns, he is torn between his need to protect himself, and his desire to protect her.

The main story of the film concerns the psychological battering of Brad and Lexi; they are unaware of what is going on in the rest of the city, unsure of what they can do to protect themselves, scared for their own lives and each others. Right at Your Door puts these two characters under a microscope, a fascinating concept for a film, and one that is executed well. But there is only so much to show, And Right at Your Door has to stretch to fill its ninety-six minutes, and the pacing problems are inevitable, with stretches dragging, although only briefly, thanks to the excellent work of writer/director Chris Gorak. Although the attempted political commentary falls flat, it is the personal explorations of the film that work perfectly.

Rory Cochrane and Mary McCormack both do a superb job; with the film placed squarely on their backs, they carry it from start to finish. The connection between the two is so real and so absorbing, that it heightens the emotional impact of the film to incredible levels. Watching the two of them, so deeply in love but forced apart, is devastating. Whether they are squabbling pettily, screaming at each other, or relying on each other for hope as they try to hold onto their wits, they propel this film, and ground it in reality, which is what makes it so disturbing.

Chris Gorak has made the leap from set designer to director with a bang, and his directorial debut is one of the most remarkable films of the year. Imperfect but explosive, Right at Your Door is as remarkable as much for its flaws as for what it does right. Our nation is in the grips of intense fear, and nothing is scarier to us right now than a massive, devastating terrorist attack, coming without warning, from which we are unable to defend ourselves. No film since 9/11 has done a better job of exploiting that fear than Right at Your Door. It may be a flawed film, but that is often the price paid for ambition, and Right at Your Door is nothing if not ambitious.

Netflix That Shit!

Netflix, verb: 1. To put a movie on your Netflix queue, with the intention of renting it. 2. to rent a movie.

Sample Sentence: Yo, they just released Heroes Season One on DVD. I need to Netflix that shit!

This is the first entry into my newest segment, “Netflix that Shit!” which will be a weekly column. Every week I’ll write about five new independent DVD releases, the ones that you want to know about, and the ones that I want you to think about. What’s worth getting and what’s worth skipping? That’s what I’m here to tell you. This is “Netflix that Shit!”

 

Year of the Dog- Paramount Vantage:

Mike White is one of the oddest writers working today. His comedies can be absurd (Dead Man on Campus) or low key (The Good Girl) and he is the kind of writer most people either love or hate. Frankly, I both love and hate Mike White. Dead Man on Campus and School of Rock are hysterically funny, but Orange County and The Good Girl are two of the worst films I’ve seen this decade.

That for his directorial debut Mike White teamed up with Molly Shannon, whom I absolutely cannot stand, is the reason I avoided Year of the Dog at all costs. It looks more irritating than funny, and seems like the kind of movie that mocks and belittles its protagonist, which is one of the most annoying traits of many comedies. However, I disagree with many about Mike White, and if you loved The Good Girl and you’re a Molly Shannon fan, then Year of the Dog will be perfect for you.

Peggy (Shannon) is entirely co-dependent on her beagle Pencil, and her world collapses when Pencil dies. With help from friends and family, Peggy tries to rebuild herself, meeting a man (Peter Sarsgaard) and realizing that her life can revolve around more than her dog. The cast also includes Laura Dern, John C. Reilly, Regina King, and Tom McCarthy. If you want to check out Year of the Dog, you’ll find director commentary, deleted scenes, and a gag reel, in addition to a movie that will likely be mediocre at best.

Air Guitar Nation- Docurama and Shadow Distribution:

Have you ever rocked out on your own air guitar, in your head standing in front of a crowd of thousands of screaming fans, women throwing their panties at you? If you have, then you are an amateur air guitarist. Meet the pros.

Air Guitar Nation is an examination of the World Air Guitar Championships, a competition taking place every year in Northern Finland. Every competitor gets sixty seconds to rock out on their imaginary guitar and try and achieve the title of “The Best Air Guitarist in the World.” The focus of the film is the first year that the United States got involved in the competition, starting in a strip club in New York, and becoming a fever that swept through the country.

Alexander Lipsitz (a Project Runway producer) explores every aspect of this competition: past winners, fans, the media, and the simple folk who compete for the title. With plenty of colorful characters, Air Guitar Nation looks like one of the most entertaining films of the year. I can’t wait to Netflix this shit, and you should follow suit.

Offside- Sony Pictures Classics:

**Flix Pick of the Week**

Jafar Panahi has the distinguished record of having every one of his films banned in his home country, but when you live in Iran and make films criticizing the government, that feat isn’t too impressive. Panahi’s newest film, Offsides, received a limited theatrical release in March after hitting film festivals in Berlin, Toronto, and New York, and is now making it onto DVD.

Offside tells the true story of a group of Iranian women who want to watch an important soccer match in Tehran’s Azadi stadium. However, Iranian law forbids women from entering sports stadiums, so the women dress up as men to watch their team play. The film follows them as they attempt to disguise themselves, and then sneak past the armed guards into the stadium. Their best laid plans, however, quickly go awry.

Featuring a cast of entirely non-professional actors, Offside is a politically motivated film brimming with humor and heart. This is a must see, both for its societal and political commentary, and for its fascinating story of women who just want to watch soccer, and are willing to risk their lives to do it.

I Love Miami- Gussi Media:

I Love Miami never got an American release (it was released in Spain and Mexico), but is such an intriguing concept that I had to mention it. Alejandro Gonzalez Padilla’s directorial debut is a dramedy about what would happen if Fidel Castro followed the lead of so many of his countrymen and fled to Miami.

I Love Miami does not purport to make any sort of political statement about the Cuban revolution, but is rather a simple exploration of the lives of Cuban refugees, told through an extreme example. It also presents its theories on the experiences that Fidel would have and the lessons he would learned were he forced into the life of the people he leads. We so rarely get to see the humanity of the Cuban people, and I Love Miami is a great opportunity to see a side of a group that we normally overlook.

 

Antikörper (Antibodies)- Dark Sky Films:

The German film industry is criminally underrated, especially after great recent films like Good Bye Lenin! and The Edukators. Last year’s Best Foreign Language Film winner The Lives of Others will hopefully change that, but it certainly didn’t help Antibodies get any attention. The crime thriller was made in 2005 by Christian Alvert, and after its premiere at the Tribeca Film Festival, waited for two years until it finally received limited release in the US.

Antibodies tells the story of small-town cop Michael Martens, who is sent to interrogate serial killer Gabriel Engel in hopes of securing a confession. Engel is a disturbed psychopath, who creates a battle of wills with Marten. Marten struggles under the psychological onslaught Engel subjects him too, and starts to crack. Antibodies looks like a slick, psychological thriller that will be great for anyone mourning the sorry state of American horror films. This is not a film for the faint of heart.

Review: Dedication

When you go to see a film about a children’s book author, you don’t expect the opening shots to be taken from an old porno. But Dedication, the directorial debut of actor Justin Theroux, is not a typical film. Well, that’s not exactly true. Rather, Dedication is an extremely typical film, but made an entirely atypical way. The plot of the film, concerning a damaged artist who finds love and redemption in the arms of a gorgeous woman is not a new or original one, and Dedication hit several clichés along the way. But Theroux, writer David Bromberg, and stars Billy Crudup and Mandy Moore take every step along the way to make Dedication, if not innovative, at least spunky and defiant as it simultaneously embraces and rebels against its formula. Dedication is at its best when its deliciously dysfunctional characters butt heads, with clever dialogue flying back and forth, and it is these moments that make this film as enjoyable as it is, in spite of its unoriginality.

Children’s book author Henry (Billy Crudup) suffers from extreme depression, and is only kept afloat by his illustrator, mentor, and father figure Rudy (Tom Wilkinson). But when Rudy dies, Henry is left out to dry, and has only five weeks to produce the sequel to his last hit, a Christmas story about a beaver (the idea inspired by the aforementioned porno that opens the film). Henry’s publisher Arthur (Bob Balaban) forces a new illustrator on him in the form of Lucy (Mandy Moore), who has her own set of issues. As the two become closer, their budding relationship starts to interfere with their work, and things get worse when Lucy’s ex-boyfriend (Martin Freeman) wants her back. You can figure out where things go from there.

The plot of Dedication is in no terms groundbreaking, but the execution of the concept is so superb that the banality of the story is easily overlooked. David Bromberg’s script is packed with snappy dialogue blasting from every source, and powerfully emotional moments between Henry and Lucy. Henry is a fascinating character, and his relationships are depressingly complex, but the most interesting one is between him and Rudy. Henry’s form of therapy consist of imagined conversations with Rudy; yes, talking to dead people is another cliché, but these scenes are so touching that it’s worth it.

The performances by the three leads are superb, not that that comes as any surprise from these actors. Billy Crudup has kept under the radar despite brilliant work in Almost Famous and Stage Beauty, and he gives one of his best performances here. He combines Henry’s hilarious neuroses with an intense humanity, making him a fascinating protagonist you can’t help but root for. Mandy Moore, her exquisite beauty shining through a matt of black hair and dark makeup, continues to prove her superiority to the teen divas with whom she used to be associated with a wonderful performance. Although she does not have as much to do as her male co-parts, and her part is not as full as her lips, she battles Crudup with full force, and their chemistry creates some of the highlights of the film. Tom Wilkinson is outstanding, as wise as he is perverted, and he plays the contradictions perfectly.

Justin Theroux is an extremely talented director, and his first film is a sign of what is sure to be an excellent career. He puts his mark on Dedication with beautiful cinematography that captures the atmosphere and tone of the film so well, and flashy editing that gives the film a lot of personality without distracting from the story and the actors. Theroux and company do a remarkable job with Dedication, exploring fascinatingly dysfunctional characters in a way you wouldn’t expect; it may fit the picture of the broken down artist finding love and redemption, but it has a lot of fun drawing outside the lines, and it is these extra details that make Dedication so memorable and so good.