I didn’t know what to expect. From the endless trailer play The Artist received at the Landmark on Clark, I have to admit I didn’t have much hope. It looked too “artsy,” too cute, too self-important. That’s at least how it seemed. And then the reviews started coming in, and pretty much everyone was talking about it on all the movie podcasts. Still, I was holding out. Everyone could have been deceived by the gimmick of a contemporary silent, black and white film, right?

Of course, my preconceptions were wrong (I still think the trailer mis-markets the film): The Artist is a wonderfully fun and entertaining film, and that makes up for whatever high pretensions it may have. The story is basically the same as Singin’ in the Rain: A successful silent film star struggles to adapt to sound while the woman he loves becomes a huge star.

The year is 1929, the place is Hollywoodland, and the falling star is George Valentin (Jean Dujardin), a mix of Douglas Fairbanks, Harold Lloyd, and William Powell (and Valentino, too, I guess) with the ruggedly charismatic face of Sean Connery and the natural cheeriness of Gene Kelly. And that description is not lifted from Roger Ebert’s review—I’d be surprised to see a review that didn’t mention it.

Anyway, on his way out the door from his latest premiere, Valentin bumps into one of his fans, the slightly ditzy flapper Peppy Miller (Bérénice Bejo). He shrugs it off and poses for a quick photo with her.

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History and movie buffs alike should be thrilled with The King’s Speech, an exemplary film with all the trappings of a serious awards contender. Impeccably cast and skillfully directed, the film started getting buzz when it debuted at the Toronto International film festival in September, and it has shown no signs of slowing down.

The film tells the (true) story of Prince Albert, who unexpectedly found himself taking the position of King George VI when his older brother relinquished the crown due to a scandalous relationship in 1936. Albert (Colin Firth) was afflicted with a horrible stutter for his entire life.

If he is to be King, public speaking will be the norm, yet the very thought of delivering a speech makes his blood run cold with fear. Escalating his personal crisis is the possibility of war.

He will have to deliver a speech that will inspire, reassure, and rally his kingdom all at the same time.  How can he convey all those things  to his subjects when all they will notice is the stutter?

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Film buffs and those who follow “the biz” remember how epic of a breakup the Weinsteins and Disney’s Mirimax was back in 2005. The brothers Weinstein had become some of the biggest movers and shakers in Hollywood, helping directors like Tarantino, Smith, and countless others become household names. Then, due to a creative dispute, the Weinsteins left the clutches of the mouse to create TWC.

Now, after almost 6 years of separation, the two entities are teaming up once again. This time, to have another swing at some of the instant classics that Bob and Harvey Weinstein helped come into existence.

The two companies are forming a partnership in order to bring sequels and TV spinoffs to films like Rounders, Bad Santa, Copland, Clerks, and dozens others. Let’s hope they continue to produce movies that, at least for the most part, try to push the envelope a bit and are not just status quo.

Click through for the full press release.

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There has been plenty of heat on the MPAA as of late. Cult horror director Adam Green (Hatchet, Frozen) recently had trouble with the organization giving his sequel to Hatchet an NC-17 rating, which is the financial kiss of death at the box office. They did the same with an upcoming Weinstein film starring Ryan Gosling titled Blue Valentine.

Upon receiving the NC-17 rating, The Weinstein Company filed litigation against the organization for an appeal to get their film down to an R-rating. This was a classic tale of Davey (a small studio) going up against the MPAA’s Goliath. The good news? They won.

News has just been released that TWC has won the appeal against the MPAA and the rating of Blue Valentine will get modified back down to a standard R. This is pretty historic for the industry, considering that nobody ever goes up against the MPAA and lives to tell the tale. It looks like the brothers Weinstein are now the exception to that rule.

This could very well change the face of how MPAA does things, as indie directors like Adam Green now have a case against the way the organization runs things. Consider this an official turning of the tide.

Check out the details in the full press release after the jump. Blue Valentine is expected to hit limited theaters on December 31st.

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The cast of Wes Craven’s upcoming fourth installment of the hugely successful Scream franchise has just grown by one more. Emma Roberts (Valentine’s Day, Hotel For Dogs and the upcoming It’s Kind of a Funny Story) will join returning original cast members Neve Campbell, Courtney Cox and David Arquette in Scream 4, which is also being scripted by original Scream writer Kevin Williamson.

Roberts will play “Jill,” one of the heroines in the new film and probably help solve yet another series of grisly murders perpetrated on the citizens of Woodsboro. Poor citizens. Obviously, Roberts is thrilled at the news.

“I am so excited to be part of this ground-breaking franchise,” said Roberts. “As a huge fan of the previous films, I jumped at the opportunity to work with the original Scream team of Wes Craven and Kevin Williamson. It’s the perfect opportunity for me to do something completely different than I’ve ever done before. With Bob Weinstein and Dimension, and the return of original cast members Neve, Courteney and David, I have no doubt Scream 4 will live up to fan expectations.”

Producer/director Wes Craven added, “I’m absolutely delighted that Emma will be joining the cast of Scream 4. Her talent, beauty and range will add immensely to the sophistication, intensity and fun of the SCREAM franchise as it returns to the screen once more.”

Well, there you go. if he doesn’t know, nobody does. Shooting on the film will begin in June in Michigan. Scream 4 hits theatres in April 15, 2011.

UPDATE: Looks like we can add Hayden Panettiere and Rory Culkin to the cast now also. Dimension Films just confirmed their casting.

Well, I have officially run out of clever ways to say that Avatar won the weekend box office, and I think I still have weeks, if not months, to go. For the fourth week in a row, Avatar ruled the domestic box office and it has now made a mind-blowing $429 Million in one month. The movie dropped almost 30% from last weekend, yet still managed a hefty $48 Million, which places it in the seven spot for highest grossing movie (domestically) ever. It has earned $1.2 Billion globally.

Trailing the top earner were Sherlock Holmes, and Alvin and the Chipmunks: The Squeakquel, which each made around $16 Million. Holmes has now made $165 Million in three weeks, and Squeakquel has made $178 Million in as many weeks. Both look poised to surpass $200 Million during their theatrical runs.

New releases were almost shut out of the top five this weekend, but the vampire horror flick Daybreakers, starring Ethan Hawke, managed to squeeze into fourth place with a respectable gross of $15 Million. It’s Complicated took the number five spot, and made $11 Million, for a cumulative total of $76 Million. The critically maligned  romantic comedy Leap Year stirred enough interest to make about $9 Million for sixth place.

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Quentin Tarantino’s Inglourious Basterds is the WW II movie we’ve needed to see since the war ended. Some might consider it overlong or self-indulgent, but it showcases Tarantino’s filmmmaking skills at their finest and serves as an example of one filmmaker’s singular vision and immense storytelling craft. It is immensely entertaining, and at times brilliant, for its entire running time.

Those going into the film hoping to see lots of bloody action like some of the director’s other films are going to be somewhat disappointed. There is some violence and gore to be sure, but this is a war movie that barely features any of the war. Instead, Tarantino focuses on the people and a very personal story of revenge. This is what Inglourious Basterds is at its core: a revenge film.

From the first scene where we’re introduced to “Jew Hunter” Colonel Landa (brilliantly played by Christoph Waltz) and he lets young Shosanna Dreyfus go instead of killing her as he did with her family, the stage is set for Shoshana’s revenge on the man, and the Nazis, who took everything from her and so many others. This is not just Shoshanna’s personal tale of revenge, however, its the cathartic revenge for all Jews — and by extension all people — who suffered at the hands of the Nazis.

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