White Dog
Samuel Fuller's follow-up to The Big Red One was shelved by Paramount Pictures before its scheduled release in 1982 because of fears that its premise -- a white dog has been trained to attack black people -- would stir up more controversy than box office. Fuller was understandably outraged; in his autobiography, A Third Face, he wrote: "The studio has used me as a scapegoat for their lack of determination and courage." The film, co-written by Curtis Hanson (LA Confidential), with a score by the legendary Ennio Morricone, later received acclaim when it was released in Europe but never received a home video release in the US and has rarely been seen here. Kristy McNichol plays an actress who adopts the dog; Paul Winfield is as an anthropologist who tries to reverse the training. The Criterion Collection DVD includes a featurette with Hanson, producer Jon Davison, and Fuller's widow, plus a print interview with the dog trainer and essays by J. Hoberman and Armond White. I'm buying, but even if you're not a huge fan of Samuel Fuller, you'd want to check it out. Rent it.

Step Brothers
Combining Will Farrell, John C. Reilly, Richard Jenkins, and Mary Steenburgen under one roof, Step Brothers mines familiar territory with sharp timing and plenty of belly laughs. Mine is, admittedly, a distinctly minority opinion. Available on DVD (single-disc rated, single-disc unrated, two-disc unrated) and Blu-ray, with an audio commentary by Farrell, Reilly, director Adam McKay, and a score by Jon Brion. Other features include deleted scenes and alternate takes, a gag reel, 'making of,' and a couple of gag featurettes. Rent it.

Much more on Wanted, The X-Files: I Want to Believe, and The Chronicles of Narnia: Prince Caspian after the jump, plus Indies on DVD, Blu-ray Picks, and Collector's Corner.

After a couple of weeks off (I had a bad case of Twilight fever), Indie Winners returns with a look at the best-performing independent films at the box office this weekend. As Indie Spotlighter Eric D. Snider noted before the long holiday weekend began, precious few new releases have entered the marketplace recently, so let's focus on two that distinguished themselves financially.

1. Milk (Focus Features)
2. Slumdog Millionaire (Fox Searchlight)

Avoiding the fall festival circuit, and even drawing some criticism for not opening in time to possibly influence California's vote on Proposition 8, Gus Van Sant's Milk finally debuted to very strong numbers, earning $38,361 per screen (36) in 19 cities, according to estimates compiled by Box Office Mojo. Milk opened last Wednesday and has been riding a wave of critical acclaim (93% positive, per Rotten Tomatoes, including our own James Rocchi). It will expand its theater count over the next couple of weeks.

In contrast, Danny Boyle's Slumdog Millionaire followed the fall festival circuit, generated glowing early word, and continues to perform well in (slightly) expanded release in its third week, scoring a per-screen average of $27,898 at 49 locations. Slumdog Millionaire also has received extremely positive reviews (92% at Rotten Tomatoes) and is likewise inspiring good word of mouth.

The old, if not profound, lesson? Specialty audiences have been responding to intelligent films that resonate emotionally, ones that sound different from the usual art house fare. Stars like Sean Penn and Josh Brolin may snare some viewers, but I'd bet it's the rousing treatment of important (and pertinent) subjects that drives Milk to a solid success as it expands. Lacking recognizable stars, Slumdog Millionaire definitely is building momentum because of its underdog tale and looks primed to be a crossover success.

A personal checklist and shopping guide:

Wall-E
As with all great movies, I quickly forgot about everything except the characters and the story. Wall-E sparked some surprising political and sociological debates, but no one can deny the sense of wonder that the boxy robot and his adventures engender. Erik's already run down the special features; the toughest decision is which editon to get. Buy it.

Tropic Thunder
I skipped this one theatrically because I'm worn out on Hollywood self-mockery -- has any other industry ever found itself so simultaneously fascinating yet repulsive? Still, reviews were generally strong, and this is the best bet this week for a broad, R-rated comedy, as long as you haven't overdosed on Ben Stiller and Jack Black. Does Robert Downey, Jr. make it all worthwhile? Rent it.

Encounters at the End of the World
Speaking of something simultaneously fascinating yet repulsive, Werner Herzog traveled to the Antarctic to make a personal essay assailing the ugliness of the man-made town from which all journeys Seriously Down Under begin, and questions the sanity of some of the people who work there. Then the beauty of the place overwhelms everything, before Werner starts asking about the sex life of penguins to liven up an interview. Oh, Werner! Rent it.

The Sisterhood of the Traveling Pants 2
Girl power got a kick in the, er, pants, with this sequel, which takes place in a fantasy land of upper class privilege masquerading as lower middle class struggles. No doubt some will take me to task for missing the moral message which is rolled up somewhere inside the pretty scenery and prettier tears; I admit I dozed off a couple of times. In a weird way, this could be a good contrasting double-bill with Twilight. Under 18? Rent it.

The Internets are saving independent film again! Often the biggest dilemma for small-time filmmakers is that distributing their movies, whether in theaters or on DVD, costs too much money. So we're seeing more and more films skip theaters, skip DVD, and go straight to the Internet, where movie downloads are becoming increasingly common.

The latest development is that a company called Cinetic Rights Management is releasing its catalog of indie films through Amazon's Video on Demand service and its CreateSpace DVD on Demand system. The arrangement will allow customers to rent or buy digital copies of films that aren't available anywhere else, many of which are just as worthy of being seen as the ones that were lucky enough to get theatrical distribution. (And that often really is the only difference between a movie that makes it to theaters and one that doesn't: luck.)

The new arrangement launches today with the featured title On Broadway (pictured), a gentle comedy about a Boston man who writes and stages a play in the back of his pub. The cast includes Eliza Dushku, Will Arnett, and New Kid on the Block Joey McIntyre.

By now we all know that Michael Moore doesn't make documentaries like our grandfathers did. He's a master of polemics, using his films to rail against corporations, guns, governments, insurance companies, and whatever else riles up his David vs. Goliath sensibility. When his most recent project was announced in May, it was described as a sequel to Fahrenheit 9/11 that would "tackle what's going on in the world and America's place in it," as pointed out by The Hollywood Reporter. Now, however, THR says the film will focus on "the global financial crisis and the U.S. economy."

Moore is still "feverishly shooting" and it's hoped the film will be ready for release next spring. At first blush, though, it sounds like he decided to make the mid-project adjustment in reaction to (or in anticipation of) the Democrats' victory. Without Bush to bash, and without the Republican Party in control of Congress, how much mileage could he get out of criticizing U.S. foreign policy with a new President steering a (presumably) different course?

Unlike many documentary filmmakers, Moore appears to start with a conclusion on his projects and then search for footage to back it up. Documentarians often say they don't really 'find' their film, or discover the story, until they're knee-deep in editing, but it doesn't sound like Moore works that way. Which doesn't mean his films lack meaning or substance or entertainment value, just that they're more like personal essays than traditional docs.

When Red Cliff (Part 1) rolled out across most of Asia in July, John Woo's historical action epic generated very good box office returns, and its recent release in Japan continues the trend. Topping the charts for the second week in a row, according to Variety, Red Cliff has earned more than $18 million so far.

Part 2 of the four-hour plus Red Cliff is due for January release in Asia, and an international (i.e. short) version is also being prepped for the beginning of the year. Theatrical distribution deals are set in Europe (France, Finland, Germany, Greece, the Netherlands, and Norway), with Summit Entertainment (distributor of Twilight and Sex Drive) handling international sales.

Still, no US distribution deal has been announced. What's holding things up? Will Summit take it on? Will North American audiences ever get to set Red Cliff on the big screen, where it clearly belongs? Or are distributors spooked by the prospect of marketing one more foreign-language action epic?

Red Cliff is based on the classic novel Romance of the Three Kingdoms; the title refers to the location of a battle involving more than a million soldiers that brought an end to the Han Dynasty in 208 AD, resulting in the division of China into three kingdoms. Tony Leung Chiu-Wai (Lust, Caution), Takeshi Kaneshiro (House of Flying Daggers), Zhang Fengyi (The Emperor and the Assassin), Chang Chen (Blood Brothers), and Lin Chiling (gorgeous Taiwanese model in her acting debut) star.

The Italian films Il Divo and Gomorra hogged the spotlight at Saturday's announcement of the European Film Award nominations, with five nods apiece, including best picture. "But wait," you might be saying if you're not European. "Why do the European Film Awards matter to me? I'm not European!"

They matter because you love foreign films, that's why. OK, and also because the EFAs often presage the Academy Awards. Recent EFA best picture winners have included such Oscar-scented titles as The Lives of Others, Talk to Her, Amelie, and Dancer in the Dark. Gomorra -- which is apparently about skinny underwear models who shoot guns at the beach -- has been submitted as Italy's Oscar hopeful and now seems like a surefire nominee, thanks to its EFA attention. The other EFA best picture nominees are The Class (France's Oscar submission), Waltz with Bashir (Israel's submission), Happy-Go-Lucky (whose star, Sally Hawkins, has generated Oscar buzz), and The Orphanage (which was eligible for Oscar consideration last year).

In the director category, the EFA nominees are Laurent Cantet (The Class), Andreas Dresen (Cloud 9), Ari Folman (Waltz with Bashir), Matteo Garrone (Gomorra), Steve McQueen (Hunger), and Paolo Sorrentino (Il Divo). Also of note: Toni Servillo is named in the best actor category for two performances -- Il Divo and Gomorra. You'd think those were the only two films Italy made this year.

Most of the EFA-nominated films either have U.S. distribution lined up or are already playing here. Success at the awards, to be handed out in Copenhagen on Dec. 8, will increase their visibility in American theaters and may also help their chances at the Oscars. The complete list of nominations is here.

This weekend's success stories:
1. The Boy in the Striped Pajamas (Miramax)
2. JCVD (Peace Arch)
3. I've Loved You So Long (Sony Classics)

The critical consensus on Mark Herman's concentration camp children's tale The Boy in the Striped Pajamas dropped a bit over the weekend (from 71% positive to 62% at Rotten Tomatoes), which didn't keep it from scoring a big win at the box office. Opening at 17 theaters, Striped Pajamas earned an estimated $15,000 per screen, according to Box Office Mojo. If you saw Striped Pajamas this weekend, are you recommending it to your friends? Is the holiday season the right time for a sober drama with (reportedly) a devastating climax?

Gotham moviegoers ignored minority sniping from several major publications and gave the reinvigorated Jean-Claude Van Damme a chance, rewarding Mabrouk El Mechri's action / comedy / drama JCVD with $23,300 in total estimated returns at the two theaters where it opened. JCVD is too self-satisfied and drenched in style for my taste, but Van Damme is great fun to watch and the film itself overcomes its limitations to deliver an entertaining experience. Are you planning to see it when it opens near you, or will you wait for the DVD?

Kristen Scott Thomas reportedly gives an award-worthy performance in Philippe Claudel's French-language family drama I've Loved You So Long. In its third week of release, the film saw an increase of 54.6% in earnings, despite adding just two theaters (still not in my area). That indicates very positive word-of-mouth recommendations. If you've seen it and encouraged others to see it, what in particular moved you or touched you? Was it because Thomas is good in it? Or is it just a strong movie overall?

I'm constantly grumbling about Americans remaking Asian films -- the idea of Steven Spielberg trying to redo Park Chan-wook's Oldboy with Will Smith is potentially the most cringe-worthy of them all -- so, to be fair, I suppose I should be complaining that a Japanese remake of Alexander Payne's Sideways recently started filming in Napa Valley, California, according to Variety. But an unrelated comic book may hold the key to the remake's appeal.

Payne's superb tale of romantic yearning and mid-life anxiety famously centers on wine snob Paul Giamatti (he praised pinot noir and derided merlot) and his much coarser buddy Thomas Haden Church as they wine, dine, and romance Virginia Madsen and Sandra Oh. The movie's success caused a strong surge in sales of pinor noir in the US.

Japan doesn't seem to have an equivalent wine culture; owing to weather, soil, and scarcity of land, the country is not well-suited to viticulture, and, historically, wine consumpton has been low. Recently, though, California wine imports have signficantly increased. And the comic Kami no Shizuku (translated as The Drops of God; pictured) has become a phenomenon over the last couple of years, read by 500,00 Japanese weekly, according to Telegraph (UK), and sending wine sales skyrocketing across Asia. The series details a young man's quest to identify the 12 wines described in his father's will.

Whatever the original impetus for the live-action remake, it could prove to be equally influential whenever it's released in Japan next fall. Rinko Kikuchi (Babel, The Brothers Bloom) plays the wildcat role originally played by Oh, while the other main parts are filled by Fumiyo Kohinata (wine snob), Katsuhisa Namase (his buddy), and Kyoka Suzuki (object of wine snob's romantic attentions).

Moviegoers who only know Jackie Chan from his Hollywood studio productions might be surprised to learn that he's continued actively working in Asia on films that have rarely made their way to North America (except on DVD). His latest project has the English-language working title Junior Soldiers, and it's expected to start filming early next year, according to Variety.

In the decade since Rush Hour, his blockbuster US hit, Chan has ceded control on his American star projects to studio-approved Hollywood vets. But in Asia, where he's been an established superstar since 1985, he makes films the way he wants to make them. He is the real auteur, no matter if he's credited as director or not. The quality has not been consistently high, but I really liked the solid action of the original version of The Accidental Spy (not the truncated, English-dubbed edition), appreciated the dramatic turn he tried in New Police Story, and enjoyed Rob-B-Hood as the silly riff on Three Men on a Baby that it is. Most of his Asian titles have featured better, more extended action sequences than any of his non-Asian flicks, even though Chan has recently slowed a bit with age (he's 54).

Not much is known about Junior Soldiers so far. Referencing reports on Sina.com, Variety describes it as "a road movie in period costume set during the Qin dynasty." Chan arrived in New Mexico last week (photo above from his official site, where he recounts a side trip to Santa Fe) to begin filming the English-language action comedy The Spy Next Door, directed by Brian Levant, in which he's an undercover spy who babysits his neighbor's kids; they unwittingly draw the attention of "dangerous foreign agents." No doubt, hilarity and action ensue.

In the US, we've got vampires coming and going -- the great Let the Right One In came out a couple of weeks ago, and the much-anticipated Twilight is due in just over two weeks. In Hong Kong, prolific filmmaker Wong Jing got a horror-comedy version of the classic Chinese hopping vampire into local cinemas just in time for Halloween. As producer and writer, he filled the cast of The Vampire Who Admires Me with beautiful real-life models (JJ Jia, Ankie Beilke, Maggie Li, Tanya Ng) wearing bikini tops and a police station's new female boss (Jo Koo) shoehorned into a tight olive tank top as her official uniform. What else do you need?

Kozo at LoveHKFilm says that something more than "a slapped-together script, lazy situations and unfunny jokes" would have been nice. To be fair, he suggests the models-turned-actresses should be given a pass for their "unremarkable acting" and commends director Cub Chien (frequent colloborator with the Pang Brothers), who "shows some flashes of talent in his handling of this otherwise unremarkable film, and the whole ultimately lives up to the expectations that one has for a Wong Jing horror-comedy. That is, one expects it to be stupid, lazy, forgettable, and hopefully sometimes fun." Ouch!

Unfortunately, this title seems rather typical of Hong Kong's film output in recent times: not very good, but not as bad as it could have been. Chances of North American release: 0%. Chances of English-friendly DVD release: 100% (in Hong Kong by the end of the month, I'm guessing, ready for export to reputable merchants worldwide).

A young actress with a strange attraction to "fat, weird-looking guys" falls for an indie film director with just the right ungainly profile in Heibon Punch, which opens in Japan on November 22. The twist? Whenever the filmmaker returns her attentions, "he magically transforms into a handsome man that she finds repulsive." Oh, and then she murders a rival actress and goes on the run with the director, who decides to make a movie out of it. Sounds like a lighter version of Natural Born Killers, that is, if Oliver Stone decided to make a romantic comedy instead of a bloody media satire. Nippon Cinema found the (NSFW) trailer and Japanese-language official site.

The film stars Rina Akiyama as the ambitious thespian and Sakichi Satô, who also directed and scripted, as the director. Satô has written for Takashi Miike (Ichi the Killer, Gozu), proving that he has a wild and perverse imagination, and previously directed Tokyo Zombie and acted in Kill Bill, Vol. 1. He adapted a manga by George Asakura, the pen name of a female creator, which "walks a razor-thin line between the viciously funny and surreal gag context and the incendiary, violent romance between the two main characters," according to robots never sleep.

In the manga as well as the film, the director has an unnatural fear of large breasts, which helps explain his attraction to the small-breasted actress, who has body image issues and wants to get giant breast implants as soon as possible. The post-murder road trip is in search of the mythical "Town of Big Breasts." (?!!!) Chances of theatrical release in North America? Absolutely zero, but if it's as pleasantly bizarre and potentially disturbing as it sounds, maybe it'll get an English-friendly DVD release next year.

The Halloween weekend scared up frighteningly weak numbers for bigger studio releases. How did independent films fare?

Winners:
1. My Name is Bruce (Image)
2. Noah's Arc: Jumping the Broom (Logo)
3. Religulous (Lionsgate)

Let's hear it for Bruuuuce! (Not, not Springsteen.) Ladies and gentlemen, the fabulous Bruce Campbell debuted at the top of the heap among limited releases, with a per-screen average of $18,800, according to estimates compiled by Box Office Mojo. Opening at one theater in New York, My Name is Bruce features Campbell as both star and director. Campbell's site lists upcoming screenings and appearances by The Man Himself.

Romantic comedy Noah's Arc: Jumping the Broom fared well in its second week of release, making an estimated $14,820 per screen, representing a normal drop of 50%. Are there enough loyal fans of the Logo TV series out there to support a wider release? It will expand to Detroit, Houston, San Francisco, Palm Springs, and Ocean, New Jersey on Friday; the official site has complete theater information.

Now in its fifth week, Religulous continues to draw audiences eager to see Bill Maher's take on organized religion. Earning $1,358 per screen, the film has grossed $11,452,000 so far; it recently became the highest-grossing doc of the year and is among the top 10 highest-grossing docs of all time, according to Docsider.

Not Winners / Indie Horror Scorecard:
1. Dear Zachary (Oscilloscope)
2. Splinter (Magnolia)
3. Eden Lake (Third Rail)

Despite our editor-in-chief's highest recommendation, Dear Zachary only made $2,800 at its single engagement. Perhaps word-of-mouth will build? That's still better than highly-regarded horror pic, Splinter, which managed only $2,200 each at four theaters (per Leonard Klady), or well-reviewed Brit thriller Eden Lake, which got dumped by the Weinsteins onto their loss-leader distribution arm Third Rail Releasing and drew just $550 per screen at 10 theaters.

1. Noah's Arc: Jumping the Broom (Logo)
2. Synecdoche, New York (Sony Pictures Classics)
3. Let the Right One In (Magnolia)

How on earth did an unheralded, under-the-radar movie from an untested distribution outfit manage to nearly out-earn a much-advertised period flick starring one of the biggest tabloid stars in the world, directed by one of the most respected? Noah's Arc: Jumping the Broom, based on the Logo TV series, opened at theaters in New York, Los Angeles, Atlanta, Chicago, and Washington DC over the weekend and grossed $32,200 per screen, according to estimates compiled by Box Office Mojo. That puts it just behind Clint Eastwood's Changeling, starring Angelina Jolie. The romantic comedy follows four men and their partners as they travel to Martha's Vineyard and deal with relationship travails. The first release by Logo's film distribution unit, indieWIRE says that Noah's Arc "is already 2008's highest grossing narrative gay film overall."

If a romantic comedy starring gay African Americans sounds like an unlikely box office winner, what about a movie with a nearly unpronounceable title featuring Philip Seymour Hoffman as an aging theater director? Not exactly sexy, I suppose, but Synecdoche, New York nonetheless grossed $19,222 per screen at nine theaters in New York and Los Angeles. I don't think anyone expects this to be a huge box office smash, yet that's a good, strong start for Charlie Kaufman's directorial debut, one of the more intriguing films to be released this fall season.

'Tis the season for cinematic horrors, but a fright-seeker's options aren't limited to Saw V or High School Musical 3. The Indie Spotlight has the lowdown on a batch of limited-release films opening today that may also terrify or amuse you. Four of the five have gotten almost nothing but great reviews, too.

Here's what's new today: Fear(s) of the Dark, I've Loved You So Long, Let the Right One In, Roadside Romeo, and Stranded: I Have Come from a Plane That Crashed on the Mountains. Those are some great titles, if nothing else. Here's the scoop on each of them.

Let the Right One In
What it is: Twelve-year-old boy develops a crush on a girl who might be a vampire. It's Twilight, but with the genders reversed, and in Swedish.
What they're saying: Raves all around the board, including Cinematical's Scott Weinberg. At Rotten Tomatoes, the acclaim is almost universal. (Owen Gleiberman: Welcome to Contraryville, population 1.) Everybody I know who has seen it says it's something special -- scary, twisted, witty, and even sweet.
Where it's playing: New York City (Angelika Film Center), Los Angeles (Laemmle Sunset 5, Laemmle Playhouse 7, Edwards University Town Center in Irvine).
More info: The official site has a list of upcoming playdates in other cities. Let's make this one a hit, people!

I've Loved You So Long
What it is: A French drama about a woman released from prison after 15 years who must try to reconnect with her sister and her sister's family. (Does the title make anyone else think of Full Metal Jacket? "Me love you long time!")
What they're saying: Cinematical gushed effusively when the film played at Telluride, calling it a "masterpiece." The Rotten Tomatoes score is overwhelmingly positive (90% at the moment), and the buzz is that Kristin Scott Thomas is a lock for an Oscar nomination and a solid bet for a win.
Where it's playing: New York City (Lincoln Plaza, Angelika Film Center), Los Angeles (Laemmle Town Center 5, Laemmle Playhouse 7, Laemmle Royal, Regency South Coast Village in Costa Mesa).
More info: Sony Classics' official site.