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Continued from H2 the chapters set in the canyon, of him trapped in the canyon, were as compelling as anything I’d ever read. I could see it as a film, and I knew how to do it, which is quite rare — when you think, I know how to do this, and I can explain how to do it. “It didn’t necessarily make sense to other people, but it did to me.” And then Boyle had to find someone to play Ralston, someone who could own the camera for 90 minutes and keep the audience with him on this harrowing journey. “So we were looking at actors, we met a few, some of them would audition for you, some of them wouldn’t,” recalls Boyle. “And I met with James in New York and he was a bit — he was like, ‘James? Hello James! I’m here. Do you realize I’m here?’ “It didn’t go very well. But the casting people said see him again. “So we met again in L.A., and I said if we’re going to see him again I want to ask him to read a bit of it, and he came in and he was brilliant. He read this sequence — the video message Ralston taped for his mother and father — and as soon as James read it, I knew. It’s him. “He didn’t look like Ralston, he’s not physically an obvious choice, but it’s him.” Franco, whose various movie projects, book projects, conceptual art projects, TV guest spots, and academic pursuits have made him (1) kind of legendary and (2) kind of a joke (a joke that he, quite possibly, is in on), delivers a truly remarkable performance. “His brain is clearly hyperactive,” Boyle says about his multitasking star. “And we benefited from that. He soaks up information. He gives you the impression he’s not listening, that he’s half asleep, but he’s soaking up everything that’s said, and he doesn’t miss a trick.” Boyle shot 127 Hours in just eight weeks, deploying two cinematographers and two separate crews, “so they didn’t share a day off, so I could keep shooting.” But Franco had to have the day off, “because legally you’re only allowed to employ the actors for six days a week, maximum. So on the evening of his day off he would go to New York, overnight, sleep on the plane, presumably, show his face in two separate schools to try and keep himself up on [his] courses by showing up once a week, and then he would get the flight back, late at night to L.A., and then
Pop Norah Jones he’d sleep in the airport … and get the first flight into Salt Lake in the morning and be back on set. “And I think that worked for this kind of story. You have to do it in this obsessivecompulsive way.” Unless his plans change drastically, Boyle, 54, will not be back behind the movie cameras for a good year or so now. He’s about to start a play at the National Theater in London — an adaptation of Mary Shelley’s Frankenstein, told from the monster’s point of view. Benedict Cumberbatch and Johnny Lee Miller will trade off the roles as the misguided doctor and his monstrous creation. It will be Boyle’s first stage production since before Shallow Grave, his 1994 screen debut. And then, taking a leaf from Chinese filmmaker Zhang Yimou, Boyle will direct the opening and closing ceremonies for the 2012 Summer Olympic Games, to take place pretty much in Boyle’s London backyard. But don’t expect the extravagance of Zhang’s 2008 Beijing spectacle. “Everybody realizes that you can’t make one like that anymore,” Boyle says. “That was like a zenith, an end-point, that type of ceremony, so we’re going to try to do something a bit different. Start anew. “But that can be hard, because whatever they say about being delighted in doing it in a different way, and however much they acknowledge only having a certain amount of money — like a tenth of whatever they spent on the Beijing one — there are certain protocols and ingredients that have to be the same: the lighting of the torch, the cauldron, the speech, the parade of athletes.” So Boyle feels somewhat daunted, but also determined. And, yes, honored. “I live very close to the stadium, and the area that it’s regenerating in East London has been neglected for many years, so it’s a wonderful thing. And also, when they asked me, I said yes immediately, because I think someone in the position I’m lucky enough to be in should do that. That’s your obligation, that’s your payback. “I’ve been brought up by the arts in Britain. … So you’ve got to give something back. I feel that very strongly.”
… Featuring (Blue Note iii)
Norah Jones never sweats: She can’t help sounding laid-back and soothing. That’s a blessing and a curse: She can be soporific. Featuring, however, succeeds in skirting that hazard by pairing her mellifluous voice with a diverse cast of high-profile partners. It collects duets, guest appearances, and other collaborations going back to 2001, ranging from soulful jazz with Ray Charles, Willie Nelson, and the Dirty Dozen Brass Band, to classic country covers with M. Ward and the Little Willies, to bossa nova-influenced ballads with the Foo Fighters, Outkast, and Charlie Hunter, to indie-pop with Belle & Sebastian. A pair of hip-hop tracks with Q-Tip and Talib Kweli disrupt the flow of this 71-minute collection — Jones is relegated to cameo roles, whereas elsewhere she usually plays the calm and steady foil — but Featuring highlights her range, humor and flexibility. — Steve Klinge
Cee Lo Green
The Lady Killer (Elektra iii)
Contact movie critic Steven Rea at 215-854-5629 or srea@phillynews.com. Read his blog, “On Movies Online,” at http://www.philly.com/philly/blogs/onmovies/
New and Noteworthy Movies Opening This Week Harry Potter and the Deathly Hallows: Part 1 See Steven Rea’s preview on H2. Leaving Kristin Scott Thomas stars as a mother and wealthy doctor’s wife whose dissatisfaction with her life leads to temptation. French with subtitles. Marwencol Documentary about a brain-damaged man who builds a miniature World War II-era town in his backyard. The Next Three Days See Steven Rea’s preview on H2. 127 Hours See Steven Rea’s preview on H2. Today’s Special An Indian immigrant and chef quits his job at a fancy New York restaurant and takes over his parents’ struggling restaurant. Wild Target Bill Nighy stars as a middle-aged assassin who invites trouble when he spares one of his intended targets (Emily Blunt).
Excellent (iiii)
Reviewed by critics Carrie Rickey (C.R.) and Steven Rea (S.R.). W.S. denotes a wire-service review. The Social Network An enthralling, near-perfect comedy of manners from director David Fincher and screenwriter Aaron Sorkin about the exhilarating creation and contested consolidation of Facebook. With Jesse Eisenberg, Andrew Garfield, and Justin Timberlake. 2 hrs. 01 PG-13 (profanity, sexual suggestiveness, drugs and alcohol) — C.R.
Very Good (iii1/2) Hereafter Clint Eastwood directs this uncharacteristically sweet, loping meditation on death and what happens next, with Matt Damon, Cécile de France, and twin boys Frankie and George McLaren as far-flung strangers whose paths converge in fateful ways. PG-13 (natural cataclysm, violence, adult themes) 1 hr. 49 — S.R. Waiting for “Superman” Oscar-winning filmmaker Davis Guggenheim’s devastating diagnosis of what’s wrong with American public schools and what it would take to heal them. With Geoffrey Canada, Michelle Rhee, and Randi Weingarten. 1 hr. 42 PG (incidental smoking) — C.R.
Also on Screens Due Date ii1/2 More like a Dude Date, this odd-couple odyssey starring Robert Downey Jr. and Zach Galifianakis as an expectant father and a boyish man traveling across the country after being booted off a plane. A rude road trip that takes many turnoffs from the highway of funny-ha-ha to the dirt roads of funny-ouch. 1 hr. 35 R (marijuana, profanity, sexual content) — C.R. For Colored Girls ii1/2 Tyler Perry’s adaptation of Ntozake Shange’s milestone play is a textbook case of the whole being considerably less than the sum of its parts. As women passing through the storm, Loretta Devine, Kimberly Elise, Thandie Newton, Phylicia Rashad, Anika Noni Rose, and Kerry Washington are moving beyond words. But in the biggest change from the source material, Perry focuses as much on the abusive men as on the women recovering their dignity. 2 hrs. 12 R (violence, sexual violence including rape, surgical candor, profanity) — C.R. Megamind iii With an origin story borrowed from Superman, a lair borrowed from Batman, and a skin complexion borrowed from a robin’s egg, Megamind — the title
Sunday, November 14, 2010
THE PHILADELPHIA INQUIRER
Kristin Scott Thomas and
Sergi Lopez in “Leaving,” a film about a dissatisfied wife and mother.
IFC Films
character of DreamWorks Animation’s smart, snappy superhero send-up — is a villain to love. Will Ferrell, Tina Fey, Jonah Hill, and Brad Pitt deliver the snappy dialogue, and the DreamWorks Animation team delivers the goods. 1 hr. 36 PG (cartoon violence) — S.R. Morning Glory ii1/2 With her motormouth delivery, Rachel McAdams nails the role of the morning-TV producer who’ll lower the bar to get a ratings boost. But other than McAdams, this workplace comedy also starring Harrison Ford and Diane Keaton is, at best, sporadic. 1 hr. 50 PG-13 (sexual situations, profanity) — C.R. Red ii1/2 Bruce Willis drags innocent tagalong Mary-Louise Parker through this slapstick action romp full of CIA hugger-mugger, expensive hardware, and cool, glib dialogue. With Morgan Freeman, John Malkovich, and Helen Mirren as Willis’ old black-ops colleagues. 1 hr. 51 PG-13 (violence, mayhem, profanity, adult themes) — S.R. Unstoppable ii1/2 “Inspired by true events,” with Denzel Washington and Chris Pine as a veteran engineer and a novice conductor trying to stop a runaway freight train before its deadly load tumbles onto innocent Pennsylvanians. From director Tony Scott, who’s made five films with Washington now. The pair would have been good in preschool — off in a corner, monopolizing the toy cars and trains, slamming them into each other and making kabooming noises. 1 hr. 38 PG-13 (action, violence, profanity, adult themes) — S.R.
Theater
Reviewed by critics Wendy Rosenfield (W.R.), Howard Shapiro (H.S.), and Toby Zinman (T.Z.).
New This Week The 25th Annual Putnam County Spelling Bee (Philadelphia Theatre Company) Another chance to see this local favorite. Previews Sunday and Tuesday, opens Wednesday. Front Row Seat (Philadelphia Theatre Workshop) A small-town family hits the road to see the president. Previews Tuesday-Friday, opens Saturday. Girl Talk (Kimmel Center Innovation Studio) Girls Night Out: The Sort-of-Sequel. Tuesday through next Sunday. Old Wicked Songs (Bristol Riverside Theater) A Jewish pianist finds himself studying with an anti-Semite. Previews Tuesday and Wednesday, opens Thursday. That Pretty Pretty; or, The Rape Play (Theatre Exile) Women behaving very badly. Preview Sunday, opens Wednesday. The Tempest (Act II Playhouse) Act II’s first Shakespeare, set on an enchanted island. Previews Tuesday-Thursday, opens Friday. The Three Musketeers (The Later
Years) (People’s Light & Theatre) The seventh annual holiday panto has fights, tights and, as always, a guy in a dress. Previews Wednesday-Friday, opens Saturday. White Christmas (Walnut Street Theatre) Two guys, two gals, great songs. And snow. Previews Sunday and Tuesday, opens Wednesday.
Continuing The Belly (Temple) A rough neighborhood defends its ethos. Through next Sunday. Half and Half (Montgomery Theater) A look at the roles of husband and wife over the course of 35 years. Through Dec. 5. Jersey Boys (Forrest Theatre) A good-time, song-stuffed musical biography of Frankie Valli and the Four Seasons. Through Dec. 12. — T.Z. Molumby’s Millions (Iron Age Theatre) A fluid telling of the story behind a 1923 championship boxing match in a small town, between Jack Dempsey and an also-ran, nicely performed in its world premiere. Through Nov. 28. — H.S. Murder on the Nile (Hedgerow Theatre) Secrets and more secrets in the Agatha Christie classic. Through next Sunday. My Mother’s Italian, My Father’s Jewish, I’m in Therapy (Society Hill Playhouse) A stale one-man comedy routine about ethnic upbringing masquerading as theater. Through Dec. 12. — W.R. Plato’s Apology (Quintessence Theatre Group) Classical Court TV as Socrates argues for his life. Through Dec. 5. Rent (11th Hour) A competent, if too reverent, production of the La Boheme AIDS-era update, with several standout performances. Through next Sunday. — W.R. Run, Mourner, Run (Flashpoint Theatre Company) Tarell Alvin McCraney’s short play about a man caught between his town’s two biggest powers is rock-solid and riveting in its world premiere. Through Saturday. — H.S. Silverhill (InterAct Theatre Company) This engrossing new drama by Thomas Gibbons, our local playwright of political ideas, explores — with remarkable evenhandedness — a 19th-century utopian religious community undermined by love and money. Ends Sunday. — T.Z. Uncle Vanya (Lantern Theatre Company) Fluid staging and true-to-life acting make Chekhov’s tale of unrequited passion and misspent lives as fresh as if it were written today. Through next Sunday. — H.S.
Video
The Extra Man iii An eccentric male escort (Kevin Kline) to wealthy New York women takes an aspiring writer (Paul Dano) under his wing. Katie Holmes and John C. Reilly also star. 1 hr. 48 R (sexual content) — W.S.
Singer and rapper Cee Lo Green leaves hip-hop entirely behind on The Ladykiller, a bid for straight-up pop stardom, profanely fueled by the impossibly infectious, 18-million-hits-and-counting YouTube smash whose name cannot be printed in a newspaper. That song, included unexpurgated on The Ladykiller, can now be heard in buzz-killing form on the radio as “Forget You,” and it’s the best thing about Green’s third solo album, which does not attempt to genre-hop nearly as much as past endeavors such as Gnarls Barkley’s 2006 breakout, St. Elsewhere. (Gnarls Barkley is a collaboration between Green and DJ/producer Danger Mouse.) Instead, the gloriously raspy vocalist goes for a James-Bond-as-Soul-Man persona that is largely ebullient throughout, employing a Michael Jackson groove in “Bright Lights, Bigger City” and taking a horror movie turn in “Bodies.” Charming stuff that’s never as naughtily enjoyable as the lead single. But then, how could it be? — Dan DeLuca
New Recordings
Ratings: iiii Excellent, iii Good, ii Fair, i Poor “poetic delivery with musical intent” that she’s used in past settings, Floacist’s halting flow gives a quivering fluidity to each line she sings and speaks. There’s a jump, a wiggle, and a giggle to her voice, whether toying with carnal passions (“Need You”) or entreating karmic force (“Alright Then”) through the gauze of soul-jazz ambience. Sensuality for the Floacist may come with firm commitment on her flighty Fender Rhodes-filled ballad “Forever” with Philly’s Musiq Soulchild. Yet she sounds equally committed to facing down fear, as in the militaristic groove of “The Stand.” — A.D. Amorosi
El Trio Zamora and El Trio Melódicos The Lost Cuban Trios of Casa Marina (Ahí-Namá iii1/2)
The story behind this album is almost as good as the album. It consists of 25 Spanish-language standards played by El Trio Zamora and El Trio Melódicos, two bands from the famed Casa Marina bordello in Havana. The CD is taken from 1958 recordings by Morris Schrage, whose family had fled war-torn Poland to settle in Cuba. (Amazing.) Schrage created a sound room in his house and used a then-state-of-the-art Ampeg stereo reel-to-reel. These live-in-studio performances sound miraculously great (Schrage had a good ear for separation and balance), a true musical document of an era that would soon be wiped out in Castro’s revolution. These familiar tunes are well-played; the occasional muffed note only deepens the charm. There are errors in the titles (It’s “El Burro Socarron,” not “Sacarron,” and “El Teléfono,” not “El Telephono”), and we learn nothing about the musicians. I realize it’s hard to track down info on them 52 years later, but Ry Cooder (the musical detective who resurrected the Buena Vista Social Club players) could have done better. Still, Lost Trios is romantic, heady stuff, played by pros who had to be good for a high-class clientele. You can almost taste the aguardiente, smell the Habana cigars, and see the staff cha-cha-ing with clients in the palace of love for rent. — John Timpane
Country/Roots
and old Ben Vaughn sidekick who now lives in Memphis, Dan Montgomery really came into his own with 2006’s Rosetta, Please (A Love Story), which made our year-end top-10 list. This long-in-coming follow-up, his fourth album, builds on the strengths of that gem. Montgomery is a gifted storyteller who spins moving, empathetic narratives like “Waltz for Charlie,” “Girl With a Broken Bell,” and “Dollhouse.” With “I.O.U.S.A.,” he also produces a sing-along lament for the times that deserves to be a hit. Montgomery keeps it real — there are not a lot of happy endings here — but he makes the journey a richly rewarding one. Once again, everything is framed in superbly crafted arrangements that dip into country, folk, even gospel (“Working on a Building” plays off the standard of that title), and flat-out rock (“Wheels of Soul”). And, like Montgomery’s often hangdog vocals, they’re suffused with a deep soulfulness. — Nick Cristiano Dan Montgomery will open for Elizabeth Cook at 8 p.m. Thursday at the Tin Angel, 20 S. Second St. Tickets: $12. Phone: 215-928-0978.
Jazz Soulive
Rubber Soulive (Royal Family iii)
The groove group Soulive takes a respectful approach to 11 Beatles tunes, several of them from the group’s classic Rubber Soul. The turf is well traveled even in the organ soul-jazz realm. But Soulive — keyboardist Neal Evans, drummer Alan Evans, and guitarist Eric Krasno — find fresh grooves without screwing up the melodies. Lots of original elements remain. The result is occasionally searing and more danceable than the originals. Sometimes the trio tries a few vocals, as on “I Want You (She’s So Heavy).” But mostly it’s Krasno’s guitar atop the lava flow, playing George’s melody on “While My Guitar Gently Weeps” and giving a twangy cast to “In My Life.” “Taxman” makes for a jamming ditty. “Come Together” shows slamming potential, and “Revolution,” while not televised, is surprisingly funky. — Karl Stark
Classical Chopin Piano Concertos Nos. 1 & 2 Janina Fialkowska, piano; Vancouver Symphony Orchestra, Bramwell Tovey conducting (Atma Classique iiii)
Dan Montgomery
You’ll Never Be a Bird (Fantastic Yes iii1/2)
The Floacist
The Floacist Presents Floetic Soul (Shanachie iii)
Etudes Op. 10 plus Schumann’s Fantasy in C
A former South Jerseyan
Agustin Anievas, piano (Newport Classics iiii)
See NEW RECORDINGS on H17
Top Albums in the Region This Week
It takes a brave woman to release a smartly wordy, quiet soul-hop album on an independent label, what with November’s major-label glut of loud superstar product from Kanye, Rihanna, and Cee-Lo. But Natalie “The Floacist” Stewart is a slam-champ poet, rapper, and singer renowned for her sharply lyrical work with neo-soul’s sweetest sounding duo, Floetry. They collaborated with toughs like the Roots and Mos Def. The Floacist can hold her own. Using the principle of
Last Week
Locally Nationally Locally 1 Taylor Swift Speak Now 1 1 Jason Aldean My Kinda Party 2 2 — Mariah Carey 3 4 — Merry Christmas II You Sugarland Incredible Machine 4 3 2 Kings of Leon 5 6 3 Come Around Sundown Trey Songz Passion, Pain & Pleasure 6 16 7 Lil Wayne I Am Not a Human Being 7 5 5 Rod Stewart Fly Me to the Moon 8 11 4 Neil Diamond Dreams 9 8 — Eminem Recovery 10 7 9 SOURCE: SoundScan (based on purchase data from Philadelphia and Montgomery, Delaware, Bucks, Chester, Camden, Burlington and Gloucester Counties). Billboard Magazine 11/20/10 © 2010
On Sale Tuesday Rihanna, Loud; Rascal Flatts, Nothing Like This; Keith Urban, Get Closer; Kid Rock, Born Free