Filed under: New Releases, Movie Marketing, Cinematical Seven, Columns

Whether or not shows like Aqua Teen Hunger Force or The Simpsons succeeded in translating their television dynamics to the big screen depends on your point of view, but the release of Speed Racer this weekend raises a more specific question about the viability of turning an animated series into a live action spectacle on the big screen. The Adventures of Rocky and Bullwinkle and Underdog both suggest how this goal can go wrong -- namely, by imploding on its absurd conceits. You may disagree with the inclusion of some of the following titles, all of which culled their material from animation, but it's fair to say that each of them takes its subject matter at face value, allowing the natural ingredients of the original sources to remain intact. Well, maybe not Super Mario Bros., but that one is a special case (fire away, if you must). Until somebody makes an Animaniacs movie with real actors, I'm sticking to this list.

1. Popeye (1980)

Robert Altman's offbeat ode to the famous Fleisher cartoon starring the spinach-eating strongman and his darling Olive Oil is the great misunderstood work of the director's career. Robin Williams and Shelley Duvall manage to bring utterly ridiculous characters into a realm of believability that you could never imagine when watching the show. Suddenly, Popeye made sense -- goofy, almost surreal sense, but sense nonetheless -- in the real world. Thanks to veteran adult cartoonist Jules Feiffer's screenplay and a soundtrack so catchy Paul Thomas Anderson borrowed from it twenty years later in Punch-Drunk Love, the classic status of Popeye can't be denied.

Continue reading Cinematical Seven: When an Animated Series Goes Live Action ... and Gets it Right

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Filed under: Comedy, Independent, Casting, Deals, New Releases, Cannes, Slamdance, Sony, Distribution, DIY/Filmmaking, Home Entertainment, Movie Marketing

With five nominations, it looks like Superbad will be the star of the 2008 MTV Movie Awards, and its three jubilant male leads -- Michael Cera, Jonah Hill, and Christopher Mintz-Plasse -- deserve the kudos. But one major talent behind the whole affair has stayed relatively anonymous while these young up-and-comers bathe in the spotlight: Director Greg Mottola. The erstwhile independent filmmaker, responsible for some of the best installments of Arrested Developed and Undeclared, launched his career a solid decade before the rise of Judd Apatow with a charming little low budget comedy called The Daytrippers. Starring Stanley Tucci, Hope Davis, Liev Schreiber, Parker Posey and a host of other fantastic character actors, the film follows a wildly dysfunctional family over the course of a single day, as Davis, playing a worrisome housewife, tries to track down her unfaithful husband (Tucci).

Mixing warm humanity with pitch-perfect screwball timing, Daytrippers marked the sort of debut that told you a filmmaker had a big career ahead of him. After a modest premiere at the Slamdance Film Festival, it landed at Cannes, barely got a theatrical release and promptly vanished thereafter. Mottola turned to TV work, and slipped out of the film scene for a good ten years. These days, it's no easy task to track down Daytrippers on DVD -- you can nab second-hand copies on Amazon for decent rates, but not a single retail outlet carries it. Aside from the occasionally airings on cable, the movie has vanished.

Continue reading Sony Hopes to Release Greg Mottola's 'Daytrippers'

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Filed under: Foreign Language, New Releases, Theatrical Reviews, Festival Reports

While Hong Kong filmmakers have a gift for action, they tend to overdo it in the melodrama department, at least when it comes to watching their films through Western eyes. Perhaps the worst Hong Kong film I've seen to date is Jackie Chan's Heart of Dragon (1985), which features Jackie caring for his developmentally disabled brother (played by goofball Sammo Hung, who co-directed). All the heartstring tugging made me want to claw my eyes out. Or take another look at a masterpiece like John Woo's The Killer and you'll see an operatic hugeness to the emotional scenes -- especially between men -- that an American would never even dream, much less dare. These folks have an extremely high tolerance level for sentimentality; it takes an enormous amount before their sap detectors begin going off.

The same goes for action director and one-man HK film industry Johnny To (also known as "Johnnie To Kei-Fung"). To was a fairly minor director during Hong Kong's exciting late 1980s/early 1990s heyday, when imported films began to tantalize American viewers bored with big explosions and Vietnam rescue flicks. His biggest credit was as co-director on the exceptional supernatural superhero movie The Heroic Trio (1992). But after the 1997 handover to China, when most other filmmakers withdrew or abandoned ship, To flourished and eventually became the country's most successful and exciting filmmaker. His action hits included: The Mission (1999), Running Out of Time (1999), Help!!! (2000), Fulltime Killer (2001), Running Out of Time 2 (2003), Running on Karma (2003), Breaking News (2004), Election (2005), Triad Election (2006) and Exiled (2007), along with some 40 other films.

Continue reading SFIFF Review: Linger

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Filed under: Foreign Language, New Releases, Theatrical Reviews, Festival Reports, Cinematical Indie

With only a handful of films to his credit, Sixth Generation Chinese director Jia Zhang-ke has become one of the world's great master filmmakers, and he has the lack of distribution to prove it. Like many other greats from Orson Welles to Hou Hsiao-hsien, he has struggled to get spectators and his movies together at the same place and the same time. His film Still Life won the Golden Lion at the 2006 Venice Film Festival and promptly sat on the shelf. It received a cautious and limited release in New York earlier this year, but since it never turned up on the West Coast, the San Francisco International Film Festival picked it up as an entry in the 51st fest (after failing to secure it for their 50th), and it opens at the end of this week at the Roxie Cinema. It's by far the best film I've seen in this year's fest, and it probably would have been the best of last year too.

Continue reading SFIFF Review: Still Life

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Filed under: Action, Comedy, Drama, Casting, New Releases, Celebrities and Controversy, Images

Catching an afternoon screening of Iron Man last weekend, the questionably denigrating representations of Afghani villains bugged me less than the bizarre cultural references in the trailers preceding it -- especially when it came to accents. Three previews in a row contained characters speaking intentionally mangled English, a fact all the more recognizable because all of them were played by well-known actors. You Don't Mess With Zohan showed Adam Sandler as a tough Israeli hair stylist. The Love Guru preview found Mike Myers blabbering on with South Asian inflections. Rounding things out in perhaps the most innocuous case, Cate Blanchett popped up as a Communist baddie in Indiana Jones and the Kingdom of the Crystal Skull. Are these gross caricatures or fair play?

We've touched on this issue before, but it looks like each month the trend gets a little stronger. There's edgy and there's a line: Borat may or may not send the wrong message, but the character's faux Kazakh accent tells you a lot about the way Americans tend to judge foreigners on the basis of their less-than-perfect English. The specific nature of the satire gives Cohen's performance an underlying purpose -- unlike, say, Love Guru, which seems more like a chance to ignorantly marvel at Myers' ability to turn Indians into a continuous punchline. Recently, a few Hindu groups launched protests against the film. This could mark uncharted terrain for Myers, who did not, as far as I know, get lambasted by any hippies after the first Austin Powers.

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Filed under: Comedy, Romance, New Releases, DVD Reviews, New on DVD, Home Entertainment

I'm doing things a little different this week. Peter has covered this week's great releases in his column, noting flicks like Teeth and I'm Not There. For you Hilary Swank lovers, there's some post-death love after the jump, but below is a collection of film spoofs, rather than a plain ol' film.

The Passion of Greg the Bunny, Best of the Film Parodies Volume 2

After Fox canceled the Seth Green-starring Greg the Bunny, it seemed like that was the end of the show. But like some other Fox victims, that wasn't the end. There was a bit of a hiatus, and then IFC jumped on board and allowed Greg to get cinematic and merge television land with movie land. The result -- a whole bunch of puppet movie spoofs. Click here to get an idea of what you'd be in for. It's not every day that you get to see a puppet embodying Frank Booth.

This release includes spoofs of movies like Monster and American Movie, plus the 2005 reunion special that takes on Fear and Loathing in Las Vegas, Rain Man, and more. As for guests, this batch includes Seth Green, Sarah Silverman, and Adam Goldberg.

Buy the DVD

Continue reading New DVD Picks of the Week: 'Greg the Bunny' and 'P.S. I Love You'

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Filed under: Action, New Releases, Tribeca, Warner Brothers, Theatrical Reviews, Family Films, Comic/Superhero/Geek

I don't know a lot about Speed Racer aside from what I've gleaned from the theme song over the years -- apparently, the young man's a demon on wheels -- so, in many ways, I'm the best possible audience for Larry and Andy Wachowski's new big-screen interpretation of the character. Originally a Japanese animation program exported and re-dubbed for the American market in the '60s, Speed Racer has now been revived and revitalized for now. And the Wachowskis have created a blast of pure pop family fun; Speed Racer's a bright, bold visual spectacle designed for kids.

And why shouldn't it be? Or, rather, how could it not? This is a property where one of the supporting characters is, after all, a monkey; any fully-grown individual hoping for an adult action film or racing realism is looking in the wrong place. Speed Racer plays like a car-crazed visual wonder -- it looks and feels like what pop artist Roy Lichtenstein would dream if you locked him in a room full of gas fumes, gave him only candy to eat and showed him nothing but Tron, Indianapolis 500 footage, episodes of the '60s Batman TV show and Chitty Chitty Bang Bang. All at the same time. With the volume very, very high.

Continue reading Review: Speed Racer

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Filed under: New Releases, Executive shifts, New Line, Warner Brothers, Warner Independent Pictures, RumorMonger, Distribution, Other Festivals

Near the end of last week, Defamer spread the rumor that Picturehouse, once the indie arm of New Line Cinema and currently dangling from the edge of the hulking entity known as Warner Bros., has its days numbered. Now that New Line is history and Warners, like many studios, has faced increasing cutbacks, it may give short shrift to the shingles responsible for handling artier fare. Along with Picturehouse, this also includes Warner Independent Pictures, whose recent release slate includes David Gordon Green's magnificent Snow Angels.

Defamer suggested that Picturehouse president Bob Berney might wind up at WIP or head up a new, currently anonymous company. On Friday, Variety's Anne Thompson put it in more coherent terms: It appears quite likely that WIP and Picturehouse will merge together as a single company, with current WIP president Polly Cohen working alongside Berney. Whatever happens, let's just hope that the final result still leaves room for the sharp selection of independent and foreign titles that Picturehouse has handled since its birth three years ago. Defamer points out that Marion Cotillard's unexpected Oscar win for La Vie en Rose matters less than the flop of Run, Fatboy, Run, while the John Simpson-directed horror film Amusement might get dumped on DVD. It was just last year, however, that the company helped edgy fare like The Orphanage and Rocket Science get the sort of release most studios would never try. Let's hope that bravery lives on, somewhere.

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Filed under: Action, Comedy, Casting, New Releases, Executive shifts, Celebrities and Controversy, Box Office, Fandom, Exhibition, Politics, Images

In these supposedly progressive times, gender equality is one of those touchy issues relegated to the last paragraph of a trend piece nobody reads. When Katherine Heigl suggested to Vanity Fair that Judd Apatow's movies were sexist, the assertion came across like an after-the-fact shrug of acceptance. Ever the galvanizing provocateur, New York Times critic Manohla Dargis confronts the issue head-on with a thorough analysis of the gender bias in this year's summer blockbusters.

With "Iron Man, Batman, Big Angry Green Man" and other massive expressions of virility invading the box office, female roles appear to be relegated to the back of the multiplex. Dargis touches on the rumors that Warner Bros head Jeff Robinov believes no woman has been able to sell a movie since Julia Roberts (a point that Natalie Portman might contest, but not Paris Hilton) before sizing up numerous upcoming studio releases, with particular attention paid to Anna Faris, "who could be the next Judy Holliday but without the right material will, alas, probably end up the next Brittany Murphy." It's the kind of pronouncement that hits you in gut.

Continue reading Discuss: Is Hollywood Misogynistic?

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Filed under: Comedy, Drama, Independent, New Releases, Tribeca, Festival Reports, RumorMonger, Celebrities and Controversy

If you're anywhere near New York City this weekend, you simply must check out the work of this great new filmmaker named Harmony Korine, whose strangely fantastical movie, Mister Lonely, opened yesterday at the IFC Center (it hits Los Angeles on May 9). Some readers may confuse this Korine for the angry young radical who wrote Larry Clark's teen sex drama Kids when he was 19 and later directed the startling divisive, sharply confrontational films Gummo and Julien Donkey-Boy.

I assure you that the 1990's-era Korine is long gone -- or, rather, has morphed into an agreeably warmer artist. Mister Lonely, which stars Diego Luna as a Michael Jackson impersonator and New German Cinema legend Werner Herzog as an eccentric priest, doesn't always make sense, but that's precisely what Korine was going for. "I've always been interested in making a perfect nonsense," he told a crowd at the Apple store in lower Manhattan Thursday night. "I never really cared much about plot. I wanted to make movies about moments that went through you, that were experiential."

Continue reading Tribeca Update: Harmony Korine Talks 'Mister Lonely' and 'Fight Harm'

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Filed under: Comedy, New Releases, Scripts, New in Theaters, Politics, Interviews

Harold and Kumar Escape from Guantanamo Bay, the sequel to the modern stoner classic Harold and Kumar Go To White Castle, hit theaters last Friday. I sat down with the film's writer/directors -- Jon Hurwitz and Hayden Schlossberg -- a few days after the release of their film. In the interest of journalistic integrity (and shameless name-dropping), I should tell you that the gentlemen are friends of mine, and all around great dudes.

Cinematical: How did the Hurwitz/Schlossberg magic begin?

Jon Hurwitz: Hayden and I became friends on the Randolph High School debate team and connected over a common love of comedy. We were both obsessed with the movies of the Farrelly Brothers and the Zucker Brothers. We loved Howard Stern. We thought it would be amazing if we could actually make movies one day. But it felt like it was the most unrealistic goal of all time for a couple of dudes hanging out in a basement in New Jersey. What changed everything for us was that in high school we were known for coming up with really funny "Would you rather?" scenarios. We came up with a list of 250 that we were going to try to get published.

Cinematical: What was the best one?

JH: "If you had to be sexually abused, would you rather it be by an android or a Muppet?"

Cinematical: Muppet. It's softer.

Hayden Schlossberg: Exactly. Plain and simple. It would hurt less. That is the correct answer.

Continue reading Interview with Jon Hurwitz and Hayden Schlossberg, Writer/Directors of 'Harold and Kumar Escape from Guantanamo Bay'

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Filed under: Documentary, New Releases, Sony Classics, Theatrical Reviews, Festival Reports, San Francisco International Film Festival, Cinematical Indie

With the rise of cheap digital video, some might claim that we're in a Golden Age of documentaries, except for the fact that most documentary filmmakers aren't really filmmakers. They copy a basic template over and over again, assembling footage rather than making a movie. Of course, some of this may qualify as great journalism: the 2003 film Blind Spot: Hitler's Secretary, for example, or last year's No End in Sight. But very few understand how to combine filmmaking and reporting, how to make the story speak on a personal level. For my money, then, Errol Morris is the greatest living documentary filmmaker. As his reputation has risen -- he went from a guy who couldn't get arrested at the Oscars to a guy who actually won one -- his films have become more like events, like a story you can't possibly miss from a reporter you know and trust. (He has become like a Walter Cronkite or an Edward R. Murrow of the documentary set.)

Morris' Standard Operating Procedure screened this week at the 51st San Francisco International Film Festival, where Morris received the festival's Persistence of Vision award. The new film can be seen as the third in a trilogy of Morris' war films, with Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999) taking on World War II and The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003) examining Vietnam. This one stumbles right into the current war in Iraq, and stares right into the face of the Abu Ghraib prison controversy. Of course, this story was extensively covered on the TV news and people have already seen the gruesome photographs, but Morris slows down the story a bit, taking a more careful look after the fact (many of his interview subjects have finished serving their jail time).

Continue reading SFIFF Review: Standard Operating Procedure

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Filed under: Comedy, Independent, New Releases, Theatrical Reviews, Cinematical Indie, Paramount Vantage

(As Son of Rambow opens today, here's Cinematical's review from the 2007 Sundance Film Festival ...)

After a week of high-power documentaries and wrenching dramas at Sundance, there's a strong chance I may have been extra-susceptible to the charm and sheer exuberance of Son of Rambow, the newest film from director Garth Jennings and the production team known as Hammer and Tongs. But I don't think so; the giddy, goofy and heartfelt creativity of Son of Rambow would stand out regardless of where, or when, one had the good fortune to see it. In 1980's Britain, young Will Proudfoot (Bill Milner) is a good-hearted, slightly burdened young boy, grieving his lost father, constrained and supported by the humble Christian community his mother finds solace in. The group shuns television and films; they live with simplicity, piety and grace. None of which, it seems, can compete with Sylvester Stallone....

After a spot of bother at school, Will winds up not-quite-friends with troublemaker Carter (Will Poulter), a scamp with slight troubles. In the storage shed at Will's family's business, Will is exposed to a pirated VHS copy of First Blood. Will's never seen a movie, or heard a story not taken directly from The Bible. It is, to him, a revelation of the highest order and leads to Will and Carter collaborating on a camcorder epic, Son of Rambow. The fact that Will seems to be working out some issues with his absent father is fairly obvious, as is the tension between Will's sacred teachings and his more secular desire to run through the English countryside pretending to commit acts of derring-do.

Continue reading Review: Son of Rambow

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Filed under: Action, Drama, New Releases, Sony Classics, Theatrical Reviews

One of the challenges of being a great artist is that not all of your art is going to be great. The Beatles wrote several songs that lesser acts would have turned into careers, but that nonetheless lack the power of "Yesterday" or the joy of "I Wanna Hold Your Hand"; George Orwell's The Road to Wigan Pier is an excellent work of journalism, but not nearly as good as Homage to Catalonia. Redbelt, the latest film from writer-director David Mamet, is not as impressive or thought-provoking as some of his other dramatic works, like Glengarry Glen Ross or House of Games or Oleanna; at the same time, it's an exciting, engaging mix of drama and action supported by an immensely appealing lead performance by Chiwitel Ejiofor (Dirty Pretty Things, Children of Men).

Redbelt's subject and setting may make it seem incongruous -- Why is one of America's greatest playwrights making a film about mixed martial arts and Jiu-jitsu? -- but it's actually in keeping with Mamet's other recent entertainments like Spartan, his work as a co-creator of The Unit and his pseudonymous work on the screenplay for Ronin. Redbelt fits in with these projects: They have a kind of heroic stoicism under them; they're stories of honorable men in a dishonorable world. They've all got a kind of muscular poetry, too, a hard-bitten nobility that's still a little sad about the edges.

Continue reading Review: Redbelt

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Filed under: Action, Deals, New Releases, Paramount, RumorMonger, Fandom, Newsstand, Comic/Superhero/Geek, Remakes and Sequels

Most of us haven't even seen Iron Man yet (though it's possibly just me -- everyone on my MySpace and Facebook is horrified I haven't, and it wasn't even midnight in my time zone), and already they're planning the sequel. Iron Man Cinematical reviews are here and here.

Brad Grey, head honcho over at Paramount, told Entertainment Tonight that if all went as hoped with the first movie, the sequel will come out this very week in 2010. (I just saw into the future ... and I'm pretty much typing this same post with the third installment in 2012.) Since it doesn't look like Iron Man is going to be a disaster at the box office, I think it's safe to say you can start counting down to 2010.

Hopefully, as much care and attention will be lavished on the sequel -- again, I haven't seen it yet, but all appearances and reviews suggest that they really knocked it out of the park. It would be awesome if it surpassed X2: X-Men United, which I think is the best superhero sequel yet. (Though maybe your opinion leans more towards Spider-Man 2.)

Now would be a good time for you well-read Iron Man fans to jump in with where you want the sequel to go. (Or, if you're feeling mean, you can also start screaming "sell out!" or something along those lines.) I wish I could throw in a story suggestion here, but I can't ... I'm still waiting to see it! You should feel really bad for me.

[via Empire]

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Filed under: Comedy, Romance, New Releases, Sony, Theatrical Reviews

The second wedding-centric "comedy" I've seen this year is the new release Made of Honor, and like the first one, Over Her Dead Body (aka That Waste of Paul Rudd That I Had to Look Up the Title For), the word "comedy" deserves to be within quotation marks when used as an adjective. It's not a terrible film, but it rarely rises above the hilarity level of Oh, How Cute. Even the cuteness wears off in the last third of the movie, leaving you with nothing but the feeling that you've seen this all before, perhaps in sitcoms, where it was much funnier.

You can predict the plot from the poster. Tom (Patrick Dempsey) and Hannah (Michelle Monaghan) are best friends who pal around New York together like pale imitations of the leads in When Harry Met Sally, except these two characters apparently never watched the second half of that film. Tom is relationship-phobic -- he has a set of strict rules for his frequent one-night stands -- but when Hannah takes a long business trip to Scotland, he starts to realize that maybe Hannah is a bigger part of his life than someone to antique-shop and eat desserts with. Naturally, when Hannah returns from Scotland, it's with a perfectly sexy, perfectly perfect fiance in tow. And in a move that is meant to be the incitement for high humor, she asks the newly lovelorn and crushed Tom to be her -- you won't believe this -- maid of honor. Have you fallen out of your chair yet, and are you rolling on the floor in hysterics?

Continue reading Review: Made of Honor

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Filed under: Romance, New Releases, Sony, Fan Rant

Due to a snafu (my own fault), I did not have a seat at Tuesday night's Iron Man screening in Philadelphia. So while everybody who is anybody hereabouts was giddily watching Tony Stark transform from an arms dealer to an ass-kicking, metal-suited superhero, I was in a different theater one block away watching Patrick Dempsey be a bridesmaid in Made of Honor. There'll be a Cinematical review of the movie on Friday, but for now I'd like to ask a very specific question: what on earth could that title possibly mean?

Others who have seen the movie have referred to "Made of Honor" as "a pun," or even an "appalling pun." Okay, but a pun usually involves conflating two words or expressions that make sense in the same context and happen to sound alike. In this case, I only count one. Yes, I get it -- Dempsey plays the best friend of a woman who is getting married, and so she names him her maid of honor. It's funny because he's a guy, but he's the maid of honor. Hahaha! Fantastic. But made of honor? What, like built of honor? Who? Patrick Dempsey? I'm not connecting the dots.

Continue reading Fan Rant: What Could "Made of Honor" Possibly Mean?

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Filed under: Documentary, New Releases, Tribeca, Celebrities and Controversy, Politics

In Bigger, Stronger, Faster, a big hit at the Sundance Film Festival earlier this year, documentarian Christopher Bell takes a hard look at steroid culture and the bad rap it gets from mainstream America, tackling the Western obsession with body image. Clocking in just under two hours, Bell's sprawling overview deals with the impact of 1980's pop culture icons like Arnold Schwarzenegger and Sylvester Stallone, then dives into the gritty details of steroid usage in sports and the recent congressional hearings where baseball players were reprimanded on national television.

Bell doesn't view the issue in black-and-white terms: His own brothers, featured in the film, continually use steroids to enhance their bodybuilding careers. Contrasting the personal with the political, Bigger, Stronger, Faster diagnoses a distinctly American malady. Cinematical spoke with Bell last week in New York, where Bigger, Stronger, Faster has been screening at the Tribeca Film Festival. The movie opens May 30.

Cinematical: The movie tackles a major issue that many Americans have strong opinions about, but it also has a personal component because of your family's story. What's it been like facing the growing public awareness of the film?

Christopher Bell: It's so rewarding to hear, "Hey, you made a good movie. Thanks for telling the truth." We haven't really been criticized or attacked by anybody. There was one woman at Sundance who really upset about 'roid rage, saying that we glossed over it. I think we actually explained it pretty well.

Continue reading Tribeca Interview: 'Bigger, Stronger, Faster' Director, Chris Bell

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Filed under: Foreign Language, New Releases, Theatrical Reviews, Festival Reports, San Francisco International Film Festival

If nothing else, Eric Rohmer's The Romance of Astrea and Celadon raises many interesting questions about the nature of the auteur theory and film canons in general. Rohmer is a certified auteur, and a world master. He has made many, many good films and a few great ones, especially when adding entries to his three celebrated series: "Six Moral Tales" (in the 1960s and 1970s), "Comedies and Proverbs" (six films in the 1980s) and "Tales of the Four Seasons" (in the 1990s).

These films, which often have a relaxed, al fresco quality, mainly focus on young, smart, attractive contemporary French people who talk a lot get themselves into romantic situations. When he departs from this successful formula, as with his last two films, The Lady and the Duke (2001) and Triple Agent (2004), the results are considerably less. So when a filmmaker like Rohmer makes something as blatantly, painfully awful as The Romance of Astrea and Celadon, it brings such ideas into sharp relief.

Continue reading SFIFF Review: The Romance of Astrea and Celadon

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Filed under: New Releases, IFC, Theatrical Reviews, Cinematical Indie

The writer/director Harmony Korine might have been -- and might still be -- one of the most audacious and terrifying new American talents in some time. At the age of 19, he wrote the script for Larry Clark's Kids (1995) and made his own directorial debut with