Curiously missing in this minor 8.15 N.Y. Times story about Bradley A. Blakeman‘s lawsuit against the guys behind Swing Vote, claiming that it’s pretty much based on a screenplay he wrote called Go November, is an observation I made a couple of weeks ago that the basic bones of Swing State are fairly similar to Garson Kanin‘s The Great Man Votes (1939).

This is a second-hand but reliably sourced story about the currently-shooting Wolverine movie, the upcoming 20th Century Fox tentpoler that’s currently being shot by Gavin Hood (Rendition, Tsotsi) and an issue that begs the question “who’s really in charge here?” In one corner is Hood, whose once-soaring stock suffered a NASDAQ falloff last year after nobody much liked Rendition, and in the other is Fox co-chairman and CEO Tom Rothman, who’s widely known for being a very willful and meticulous micro-manager.

Wolverine director Gavin Hood; 20th Century Fox co-chairman and CEO Tom Rothman.

There was/is a huge Wolverine set being recently used. I’m not even sure which lot it was built on, but the look or mood of the set is, according to a source who was told Hood’s view of things, supposed to be on the dark, dinghy and somber side. I only know what I was told, but the basics are that Hood was away from the set for whatever reason (shooting something else, taking a day or two off), and when he returned to the big somber set he was shocked to find that it had been repainted top to bottom on Rothman’s orders. The murky-scuzzy vibe was gone, and a brighter and less downish look had taken its place.
That’s all I know, but at the very least, given my confidence in the source, it suggests that a creative tug-of-war is going on, and that Rothman, one can reasonably gather, feels a certain managerial-slash-territorial investment in the X-Men franchise (the technical name of the film is X-Men Origins: Wolverine) and believes that he, being the big Fox cheese and an inheritor of the spirit of golden-age Fox strongman Daryl F. Zanuck, is more or less entitled to make his own Wolverine calls, whether or not Hood fully concurs.
That said, the situation probably isn’t quite as cut-and-dried as suggested by this story. But I do know that Hood was utterly surprised when he got back to the set and saw what had been done.

“Penelope Cruz‘s work in Vicky Cristina Barcelona is the most bolt-out-of-the-blue performance I have seen since Daniel Day Lewis‘ work in There Will Be Blood, which, and of itself, was the most bolt-out-of-the-blue performance since Robert De Niro‘s work as La Motta,” writes an HE loyalist and successful screenwriter. “Nothing I have ever seen from Cruz quite prepared me for what was coming. In fact, no actress’s work would have prepared me for what she gave up here — the ultimate bi-polar portrayal, equally believable in her character’s moments of hysteria and tenderness.

“Woody Allen has given Cruz and costar Javier Bardem the gift of allowing them to navigate two languages within single scenes, sometimes even within phrases and sentences. Its sensational stuff and some sort of case study in reactive acting, in listening (even when she despairs in listening). VCB is loaded up with great performances, I believed every second of every look made and word uttered, but its Cruz’s show all the way.
“Give the release date of the film and my expectation that the movie will crash and burn at the box office, there will probably be no nomination for this woman. That will be an outrage we can all look back on.”

Revised, error corrected: When Tuesday morning’s final roster of Toronto Film Festival selections is announced, I for one would love to see Jim Sheridan‘s Brothers (MGM, 12.4) included. It’s a remake of Susanne Bier‘s 2004 Danish-language original about a younger “bad” brother (Jake Gyllenhaal in Sheridan’s version) stepping into the familial shoes of his older “good” brother Tobey Maguire) after the latter disappears during an enemy skirmish in Afghanistan.

Gyllenhaal, Portman, Maguire

Natalie Portman plays the wife-mother whose loyalties shift, or at least adapt to new realities. Sam Shepard plays the gruff and disapproving pater familias, the father of Gyllenhaal and Maguire. David Benioff (The Kite Runner, The 25th Hour) adapted the screenplay.
Over the last couple of days I’ve written and called Sheridan (who’s in town) to ask if Toronto might happen, and I’ve heard nothing back. I asked incoming MGM marketing guy Mike Vollman, who said something along the lines of “I haven’t heard” or something like that. I also asked MGM corporate guy Jeff Pryor and he, too, claimed ignorance of the particulars, etc. You can interpret these three guys saying nothing as an indication of something or not. Probably not, I’m guessing, but it’s only 72 hours to Tuesday morning.

Tobey Maguire (middle), Natalie Portman (r.) talking to unidentified hooded figure on set of Brothers.

How is a reasonably intelligent person supposed to bridge the gap between Religulous (Lionsgate, 10.3), the Bill Maher-Larry Charles doc that portrays religions as a source of endless worldwide idiocy, ignorance and acrimony (a view I personally embrace), and the spectacle of today’s civil forum discussion (5 to 7 pm) at the Saddleback Church in Lake Forest, California, between John McCain, Barack Obama and pastor Rick Warren?

The answer is to put aside the miraculous dream of a world without religions and settle into the idea that Obama could (a) diminish the idea among some evangelicals that he is a Manchurian Candidate Muslim anti-christ, and (b) that, being by all statements and appearances a more sincere and devout Christian than McCain, Obama could manage to siphon off enough evangelical votes to help alter the final tally in certain swing states.
Warren “is an anti-abortion Southern Baptist who is nonetheless part of a shift away from the religious right’s strict focus on abortion and marriage,” one summary states. “The environment, poverty and education have also become pressing concerns, especially for younger evangelicals.
“Warren is best known for building Saddleback Church into a 23,000-member megachurch in Lake Forest, Calif., and for writing the multimillion-selling book The Purpose-Driven Life.
“But he and his wife, Kay, are also leading advocates for HIV/AIDS victims worldwide. They have invested enormous resources in their PEACE Plan, now under way in Rwanda, which aims to combat corruption, illiteracy and other social problems through church partnerships with government and business.

This weekend, I’m thinking, things might have finally slowed down enough to allow me to impulsively see The Dark Knight in IMAX. It’s important to be able to see a film on a whimsical spur of the moment basis. You need to be able to just saunter up the box-office 15 minutes before showtime and buy a ticket and get in, with any of the bullshit.

I’m not trying to sound like a putz, but if a Great Cosmic Voice were to one day inform me (while I’m in the shower or driving the bike down Beverly Blvd.) that for the rest of my time of the planet I’ll never again hear a cut by Ghostface Killah, or see him in a blink-and-it’s-gone cameo in a film like Ironman, I could probably live with that. (GK’s Wikipedia page says he’s “frequently assumed the persona of both Ironman and Tony Starks, [and] released a 1996 album titled Ironman and has drawn deeply on the Iron Man mythology.”)

“Anything can be great. I don’t care… bricklaying can be great if a guy knows. He knows what he’s doing and why and can make it come off. When I’m really going…I feel like a…like a jockey sittin’ on his horse. He’s got all that speed and power beneath him, comin’ into the stretch, the pressure’s on, and he knows…he can just feel when to let it go and how much. Because he’s got everything going for him — timing, touch. It’s a real great feelin‘ when you’re right, and you know you’re right.”

Alex Holdridge‘s In Search of a Midnight Kiss is the best twenty-something relationship movie I’ve seen in a long time. It’s almost a breakthrough film in that “twentysomething relationship movie” tends to mean something vapid and broadly stupid (i.e., humiliation humor, body-function jokes) with Anna Faris or Dane Cook or something along those lines. And this is quite the other thing.

Midnight Kiss is a dry and recognizably human thing, “real” and uncloying, youngish and yet seasoned, sharply written and believably acted except for two supporting performances. I have some minor issues with it, but it’s easily the most engaging film of its type to come along since I don’t know when.
It’s set in Los Angeles and is certainly an “L.A. movie” through and through. One of its virtues, perhaps its principal virtue, is Robert Murphy‘s black-and-white photography, which has some of the most romantic silvery images of big city since Gordon Willis‘s work in Woody Allen‘s Manhattan. Murphy’s photography is of downtown L.A. with a little Silver Lake and deep Hollywood thrown in.
And yet Los Angeles seems to be the only hip town it hasn’t played in yet. ISATMK has been on the worldwide festival circuit since April 2007 (starting with the Tribeca Film Festival), and has opened in New York, Cambridge, San Francisco, Seattle, Berkeley, Washington, D.C….you name it. It finally opens here next Friday.
I’m hoping to do a sitdown with Holdridge and the cast (Scoot McNairy, Sara Simmonds) on Tuesday, or maybe the day before or after.

Not as funny as James Franco in Pineapple Express, and a little too broad and undisciplined to be called “believable.” But probably the most influential stoner performance of the last 15 years.