Winter’s Bone is  stark, bleak and haunting. It won the Grand Jury Prize and a screenwriting award at the 2010 Sundance Film Festival. This is the second film by director Debra Granik.  Her debut film Down to the Bone played at the 2004 Sundance Festival, and earned her a Best Director Prize.

At the heart and soul of this drama is Ree, a seventeen year old girl living in the wooded Ozarks with her mother and two younger siblings.  It is never made  apparent why, but Ree’s mom is completely incapable of caring for the family. She is non-communicative and just sort of stares into space all the time.

That leaves Ree to man the household, so to speak. She chops wood, shoots and skins squirrels, and cares for their animals the best she can. As played by an astonishing Jennifer Lawrence, Ree is the embodiment of a girl forced to be a woman and caretaker far before her time.

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For a few years now there has been plenty of talk about the possible remake of the 1972 film The Mechanic, which starred Charles Bronson and Jan-Michael Vincent. Many different major action players were considered for the role that Bronson originally played, including Sly Stallone and Vin Diesel, but it wasn’t until recently that pen hit paper and Jason Statham was signed to play hitman Arthur Bishop.

From there, it was a pretty easy decision to cast up-and-coming star Ben Foster as Steve McKenna, a role first made famous by Jan-Michale Vincent. In the film, Bishop is a hit man who is on his way out of the business and takes McKenna under his wing as a protege to pass along his legacy. Things, of course, go awry from there in an action-packed cacophony of violence.

Now, with both Statham and Foster filling in, it almost carries the same the same impact, with Statham coming off of a nearly 10 year run as an action star, and Ben Foster still working his way up the “leading man” ladder. The remake is also directed by action director Simon West, who has brought such films as Con Air and Lara Croft: Tomb Raider to the screen.

Check out the first trailer for the film after the jump, and be sure to catch The Mechanic in theaters on December 15th.

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I’m still anxiously awaiting the day I get to see Kick-Ass, and be as cool as our SXSW team that caught its Austin premiere. (Be sure to check out Shannon Hood’s review.)   But at least I could content myself with Mark Millar’s Kick-Ass: Creating the Comic, Making the Movie which the gang at Titan Books was kind enough to let me review.

Anyone who viewed the trailer knows that Kick-Ass is going to be a unique movie. One look at Chloe Moretz’s Hit Girl can tell you that much. But I hadn’t realized just how unusual its page-to-screen transition was. Millar was still in the process of sketching the book out when he approached Matthew Vaughn (licking his wounds after leaving Thor) about directing.

The movie took shape as the comic did, with Millar running back and forth between the production offices and his own keyboard, incorporating ideas from Vaughn and screenwriter Jane Goldman as he went. Characters who were meant to be minor players such as Red Mist took on a life of their own after they were cast, and ended up becoming major players in Kick-Ass’ story arc. If there’s a sequel to Kick-Ass, it may be entirely due to Christopher Mintz-Plasse single-handedly rewriting his character.

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By now, you’ve read a dozen articles proclaiming the past year or so to be the Age of the Vampires. You have probably complained loudly about how many darn vampire movies and television shows there are. I know I have.

I make a few exceptions (you’ll pry my True Blood DVDs out of my cold, undead fingers) but for the most part, I could let most of the movies and television shows pass on by.  But we’re all going to have to make another exception for Sigourney Weaver.

According to THR’s Heat Vision, Weaver has joined the cast of Amy Heckerling’s vampire horror comedy Vamps.   The film centers on two young vampires played by Alicia Silverstone and Krysten Ritter who find their permanent youth, sexiness, and penchant for darkness a boon in the New York club scene.   But when they find true love, they face a difficult choice that threatens their immortality.

Weaver will play Ciccerus, a vicious vampire who turned both girls into bloodsuckers.   She’s also a queen vampire. Move over Evan Rachel Wood!  Weaver will have the power of Zuul at her back. Frankly, that’s why I’m excited to see her embrace her (campy) dark side. No one can play vicious like Weaver, and few have her dry comedic chops.

Even if the idea of a vampire romantic comedy immediately makes your fangs pop out, you have to admit this addition makes Vamps a lot more appealing.

Vamps is eying an April start.   Let’s hope all the blood isn’t drained of the trend before we get to see a goddess like Weaver have some fun with it.

Featuring a terrific ensemble cast led by Lee Tergesen, Melanye Linsky and Gillian Jacobs Helena From the Wedding is a straightforward and simple story well told about a group of friends gathered at a house in the mountains for New Years Eve. Naturally, none of the relationships among these people are exactly what they seem on the surface and as the film progresses you learn more about their darker, hidden sides and their flaws and insecurities.

When you have a great cast and give them interesting things to do you end with a good film that doesn’t rely on any sort of effects, CGI, explosions or any of the crutches many of the big time directors making big budget movies rely on these days. It’s the mark of a skilled filmmmaker who can take a simple film where people interact and talk about things and still manage to make it interesting.

Of course, it helps to have a very gifted actor at the center of the film. Lee Tergesen is one of those actors you’ve undoubtedly seen in something but you may not be able to place him. He inhabits a role so well that you almost don’t recognize him from project to project. That’s one of his major strengths.

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Make no mistake about it, Chloe Moretz (500 Days of Summer) owns this movie. She may only be 11 years old, but her performance as Hit-Girl is spunky, sassy, and exciting. Hit-Girl is poised to become a new comic cult icon, and Kick-Ass is quite simply a rollicking good time.

At one of the panels I attended this weekend, someone likened Kick-Ass to a comic type Pulp Fiction, which I would say is a pretty accurate description. British Actor Aaron Johnson plays Dave Lizewski, a nerdy high school type whose only interaction with the popular kids is when he brushes up against one at his locker.

One day out of the blue he decides he is going to become a vigilante superhero. He concocts a hideous green costume that resembles a wet suit, sets up a social media homepage for his alter ego, and starts “training.” When someone asks his name, he proudly proclaims, “I’m Kick-Ass!”

Completely inept and not blessed with any actual powers, Dave gets the living crap beat out of him by a few thugs mere moments after his official debut as Kick-Ass. This results in a multitude of injuries requiring steel plates and rods being placed throughout his body, which makes him a little more impervious to injury, but still not in possession of actual powers.

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Welcome to the second part of my look at the duplicity that is the Hollywood we know and love (or love to hate in some cases).   Yesterday I delved into the mainstream films, such as Transformers, which get little to no recognition by the Academy.  These are movies that represent the very monetary foundation of which Hollywood is built.

Today I’m going to slide the other way and talk about the performance side of Hollywood.  Films with limited budgets, little to no marketing and have to fight tooth-and-nail in some instances for distribution as well as theater screens.  They are the darlings of Hollywood, praised for often dramatic portrayal of characters and deeply emotional stories.  Yet, even with all the attention they receive when nominated for an Oscar, only a select group of viewers end up seeing these films.

In contrast to their mainstream counterparts, performance films have always been the underdog.  It starts from the very point the script is completed all the way to getting onto the screen.  It’s the latter which ultimately proves the most critical because without theaters to show it, what good is a movie?

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As we’ve been doing all week so far in anticipation of the start of the SXSW Film Festival in Austin, TX we’ve got another preview for you of a film making its world premiere at the fest. The film in question, Cherry, stars Kyle Gallner, Brittany Robertson and Laura Allen and tells the coming of age story of a sheltered college freshman learning about life.

Aaron (Gallner), is said college freshmen and as he embarks on his journey it soon turns out life is more complicated than dorm parties, co-eds and the college’s elite engineering program when Aaron meets Linda (Laura Allen). When Linda invites him home for dinner, Aaron thinks he’s getting lucky.

Instead he meets Beth (Robertson), Linda’s punk, sarcastic and intense 14-year-old daughter who immediately develops a huge crush on him. Once that happpens, Aaron is then caught between these two powerful women and he soon learns that life and love are much harder to calculate than he ever expected.

Cherry will have its world premiere at SXSW. Check out the trailer after the break.

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While most eyes are on Austin, Texas this week for SXSW, many people on the East Coast eagerly await a closer show as this year’s Tribeca Film Festival kicks off on April 21st. The festival is mainly for indie pictures, rather than the larger, blockbuster films, but is also a great place for up-and-coming directors and writers to showcase their work.

With the festival coming up in just over a month, they are already rolling out this year’s schedule and have announced the first 34 films out of a total of 85 feature length and 47 shorts screening at this year’s fest. Among the titles were those submitted to the World Narrative and Documentary competition, as well as the Showcase and Special Events.

Some of the titles look to be quite intriguing, and could include some of the bigger names of the next decade. Be sure to check out the first 34 films to be announced after the jump, and keep it here, as we bring you extensive coverage of this year’s Tribeca Film Festival.

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Continuing our recent previews of upcoming SXSW films brings us to our latest, Leaves of Grass. The film, written and directed by Tim Blake Nelson and starring Edward Norton, Kerri Russell, Susan Sarandon, Richard Dreyfuss and Edward Norton, is being released by First Look Studios and we’ve got a trailer and info about the film for you today.

The film concerns Ivy League professor Bill Kincaid who receives news of the murder of his estranged identical twin brother, Brady (both played by Norton), in a pot deal gone bad. He leaves the world of academia to travel back to his home state of Oklahoma. But once he arrives he finds things are not what they seem and reports of his brother’s death are greatly exaggerated.

Soon Bill is caught up in the dangerous and unpredictable world of drug commerce in the Southwest. In the process, he reconnects with his eccentric mother (Sarandon), meets a wise and educated woman who’s chosen the simple life (Russell), and unwittingly helps his brother settle a score with a drug lord (Dreyfuss) who uses Tulsa, Oklahoma’s small Jewish community for cover.

With a cast such as this and under the direction of Nelson, who’s previous films The Grey Zone and Kansas proved his directing talents, Leaves of Grass manages to be at times dangerous, compelling and poignant. It follows a somewhat simple narrative but still provides some potential answers to a complex question: What does it mean to live a happy and constructive life?

Leaves of Grass will be released in New York and LA on April 2nd. Check out the trailer after the jump.

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