"The Informers"

[CHRIS B]

THE INFORMERS
One of the best openings of a film I’ve ever seen. Featuring an opulent mansion house in the 80, it’s set in LA and there’s a party going on and we hear Simple Minds’ New Gold Dream (81-82-83-84) playing loudly. The guys wear Raybans, the women are very attractive, Porsche cars come and go and then 1 minute into the film, and if you haven’t sat down and settled into your seat, you’ll have missed it. Some great performances from Amber Heard (whew!), Billy Bob Thornton, Kim Basinger, Mickey Rourke, Winona Ryder, and even musician turned actor Chris Isaak.

http://www.la-story.com/a...top_ten_films_from_sunda/

[CHRIS B]

Also, IMDB listed new release dates:

USA  10 April 2009 (limited)
USA  24 April 2009

We might actually get to see this one in theaters!

[oinone]

and also imdb says:
USA   31 January 2009    (Santa Barbara Film Festival)

it's today!! i've checked now, it's in special presentation part. the other films elegy, fight club, vicky cristina barcelona, the visitor, sugar.

the link: http://www.sbiff.org/pres...ease_FilmAnnouncement.pdf

[CHRIS B]

From Variety:

The Informers
By ROB NELSON

A Senator Entertainment release of a Marco Weber production. Produced by Weber. Executive producers, Bret Easton Ellis, Vanessa Coifman, Helge Sasse, Brian Young, Jere Hausfater, Nicholas Jarecki. Directed by Gregor Jordan. Screenplay, Bret Easton Ellis, Nicholas Jarecki, from the novel by Ellis.
 
William Sloan - Billy Bob Thornton
Laura Sloan - Kim Basinger
Peter - Mickey Rourke
Cheryl Moore - Winona Ryder
Graham Sloan - Jon Foster
Christie - Amber Heard
Martin - Austin Nichols
Tim - Lou Taylor Pucci
Jack - Brad Renfro
Les Price - Chris Isaak
Bruce - Fernando Consagra
Raymond - Aaron Himelstein
Bryan Metro - Mel Raido
Roger - Rhys Ifans
  Rating less than zero on the sophistication scale, "The Informers" is thus a totally faithful adaptation of Bret Easton Ellis' novel -- and an accurate look at early '80s-era Los Angeles. Stumbling alongside wasted cases at the top and bottom of the economic ladder -- from Billy Bob Thornton's near-catatonic studio exec to Mickey Rourke's lollipop-sucking kidnapper -- the film is banal by obvious intent. The only question, as with other Ellis adaptations including "American Psycho," is whether auds will appreciate the aggressively shallow depiction of an aggressively shallow milieu, or mistake the pic's implicit critique for the crime itself. April 10 release will tell.
Dedicated to the late Brad Renfro, who appears briefly as one of many gorgeous young zombies, "The Informers" opens with fast-motion shots of L.A. at night, but otherwise stretches time (and, no doubt, the patience of some) to mirror a warped, woozy morning after in the days when sushi, Spago and MTV were new, cocaine was ubiquitous and Ray-Bans were worn by all. Pic's subject of rampant superficiality threatens to make it beyond reproach, though the fundamental authenticity of chic boredom here can't easily be denied.

Standouts in the ensemble cast include Kim Basinger as the executive's pill-popping wife Laura, who enjoys ogling her shirtless pool boy until he pulls out a rat, and Winona Ryder as Laura's TV-newscasting rival for the spotty attention of hubby William (Thornton). Lead rich kid Graham is played with aptly ruthless longing by James Spader lookalike Jon Foster. As gravel-voiced bottom-feeder Peter, Rourke is resplendent in a full tan, Hawaiian shirt and porkpie hat, though his relatively minor role doesn't capitalize on his opponent-pinning perf in "The Wrestler."

Flaunting its pointed lack of plot from the outset, the film has a pretty boy in a pink blazer being run over and killed by a fellow partygoer in the first reel; then, as if as listless and jaded as its characters, it moves on to fresher meat.

Another enjoyably inconsequential scene features a British post-punk star swilling vodka in an ice tub, stepping out to light a cig, slipping on the floor and hitting broken glass while a telephone rings incessantly. Director Gregor Jordan ("Buffalo Soldiers") stages these lurid incidents -- not least a menage-a-trois set to dumb, synth-driven music spilling from a TV -- to emphasize the utterly squandered privilege of the cake-eating participants.

The totally awesome soundtrack includes period hits from Simple Minds, Men Without Hats, A Flock of Seagulls, Devo and Wang Chung -- which, like the film proper, deliver guilty pleasures aplenty while helping to capture the vapid spirit of the times. Tech credits are vividly handsome on all levels.

More than one option(Person) Brian Young
Actor, Art Director, Grip
(Person) Brian Young
Producer
(Person) Brian Young
Assistant Props
(Person) Brian Young
CGI Artist, Digital Effects Artist, Lighting
(Person) Brian Young
(Person) Brian D Young
More than one option(Film) Pehlivan
(Film) The Wrestler
Billy Robinson, James Westman
(Film) The Wrestler
More than one option(Film) Buffalo Soldiers
2003 - Joaquin Phoenix, Gregor Jordan
(Film) Buffalo Soldiers
Glynn Turman, Glynn TurmanMore than one option(Co) Simple Minds
(Person) Simple Minds
Camera (color, widescreen), Petra Korner; editor, Robert Brakey; music, Christopher Young; music supervisor, Justin Meldal-Johnsen; production designer, Cecilia Montiel; art directors, Ines Olmedo, Nick Ralbovsky; costume designer, Sophie De Rakoff; sound (Dolby Digital), David O. Daniel; supervising sound designer, Michael Baird; casting, John Papsidera. Reviewed at Sundance Film Festival (Premieres), Jan. 20, 2009. Running time: 98 MIN.

http://www.variety.com/re...ml?categoryid=31&cs=1

[vulcannonibird]

at least some good news......

[CHRIS B]

Here's another good review:

http://sb.city2.org/blogs...ff-2009/blog_comments/new

At the risk of being stoned to death by nearly every critic who has seen this film, I am going to admit that I genuinely enjoyed 'The Informers', and I'll tell you why.. But first... A brief rundown.

Adapted from a novel by Bret Easton Ellis (the author of American Psycho), 'The Informers' follows several varyingly interconnected stories, forming a partial but very familiar portrait of LA in the 1980's - narcissism, over-indulgence, big hair and all. Some of the characters (most of the younger cast members) brilliantly reflect the cresting of that cultural wave. There's the drugged and sexed-out new-wave-rock-star, a shallow, attention-seeking-slutty-blonde (Amber Heard), and the almost personality devoid Hollywood exec (Billy Bob Thornton, and Kim Basinger) and their spoiled, self-involved disaffected cocaine-snorting children.

There are also characters who seem less close to the zeitgeist; the overly tanned Ford Econoline-driving ex-con (Mickey Rourke), and his twitchy, slightly overweight and tousled-haired hotel-doorman nephew Jack (Brad Refro).

There are too many side-stories to mention, but in sum, you can expect the best of the worst of the 80's; shirtless-denim-donning pool-boys, bad drapes, orgies, AIDS bruises, adultery, plenty of coke, Flock of Seagulls, formica cabinets, and more Ray-bans than you can shake a rubics-cube at.

Since the Sundance Film Festival, Gregor Jordan's adaptation of The Informer has been getting absolutely gutted by film critics. There seems to be an odd absence of imagination, or careful inspection when it comes to this film.

This one characterizes most of the criticisms:

"The problem with the film is that with the exception of exposing just how hollow the lives of the rich and beautiful are, none of the stories really go anywhere and while a few are sort of wrapped up by the end of the movie, some are cut off without any real kind of resolution. In the end, we’re left to wonder what’s going to happen to these people. Open endings work for some movies, but a story this depressing needs some resolution. Without one, there’s no point here other than an empty examination of overindulgence." - Kelly West of Cinema Blend



But that's the point. The film intentionally (and beautifully) over-saturates and overindulges itself - with such deliberateness that it sometimes feels like it was actually made in '83. Everything about it lulls you into that dark, steamy, predictable, naive and shockingly shiny 80's aesthetic. The delivery is so seductive that you come quickly to expect that big 80's ending - a big moral resolution - or maybe even a series of small ones that magically explain how all these people effected each other. Thankfully, there is nothing of the sort.

I am not always a fan of films that 'go nowhere', but I do like them more than not, because they have the nerve to explore reality as the best art does - by using our expectations to reveal uncomfortable truths; Very little in real life gets resolved. Very few endings are happy and lesson's aren't always learned. All sorts of predictable and random *beep* just 'happens' everyday. So I am supremely grateful for films like 'The Informers' that undermine our built-in cultural sense that we are somehow entitled to a 'point'.



-by ws1 @ city2.0

**** 4 Stars (out of 5)

[CHRIS B]

Down and Out in L.A.
Published Thursday, February 5, 2009

Issue 71 / Volume 89

Rating: ***

One of the most curious items nearly hidden among this year’s Santa Barbara International Film Festival lineup was the filmic adaptation of Bret Easton Ellis’ novel, The Informers. Sure, the critical reception to big screen adaptations of Ellis’ popular novels have been less than favorable (aside from the neo-cult-classic “American Psycho”), but the film’s well-known cast and famous source material seemed as if they would have generated a bit more buzz at this year’s festival. Then again, at a festival that places much emphasis on foreign, less-commercial films, perhaps “The Informers” was simply not a great fit.

The adaptation of Ellis’ controversial books to the screen has become quite the trend in past years, starting with the early ’90s adaptation of Ellis’ debut novel, 1987’s nihilistic Less Than Zero. Ellis helped adapt The Informers with script partner Nicholas Jarecki; the two work to translate Ellis’ vision of a hedonistic ’80s-era Los Angeles when the only important things for the trust-fund set were money, sex, drugs and pop culture… and well, maybe times haven’t changed so much. Ellis is able to truly tap into that ’80s consciousness like no one else, and “The Informers” is a great representation of just that.

The film provides a rather disturbing look at the entangled lives of (mostly) well-off Los Angeles residents. The narrative incorporates an array of fairly unlikable characters, some of the upside of the Los Angles lifestyle and those at the bottom of the barrel: There is the movie studio executive (Billy Bob Thornton) who is sleeping with the insecure newscaster (Winona Ryder), while his wife (Kim Basinger) is having an affair with her son’s friend (who is also a male prostitute). There is a drug-addicted rock star that seems to be also addicted to underage teens, and as well as a man who abducts children (Mickey Rourke).

The film also portrays a group of teenagers who live for nothing but getting high, sleeping around and generally just living life on the edge. The underlying theme of the entire film seems to be the realization of all of these people and the dangers of the lives they are leading and the repercussions of their actions - the immense shadow of the A.I.D.S. epidemic and the anxiety it evoked during that decade are clearly represented in Ellis’ screenplay.

“The Informers” was the most-criticized and overall hated film at the Sundance Film Festival this year. Though I enjoyed the film, I will agree that this film seems unfinished and incomplete. As I watched “The Informers,” I kept thinking that they must have left out or deleted some important scenes, because the film did not flow right. After reading all of Ellis’ books this film just seemed to be lacking that feeling of danger and deliberate obscenity.

The films cast is a well-rounded true Hollywood cast. Basinger gives a great performance as the vulnerable and emotionally numb wife and mother. She is so convincing and powerful in her scenes, this role was perfect for her. Mickey Rourke and Chris Isaak (who plays a deadbeat father) both give incredibly powerful performances in roles that seem to be written just for them. I also want to acknowledge the film’s sets, costumes and cinematography deign fit the ‘80 Los Angeles look flawlessly.

Being an Ellis fan, I was a little disappointed, compared to some of his other works. I did enjoy the film for the most part but I don’t think many people will understand it. In true Ellis fashion the film really has no plot and other than the fact life is dark and depressing. I am curious to see what will happen when the film is released in April, but until then I suggest reading the novel and then perhaps renting the movie when it comes out.

http://www.dailynexus.com/article.php?a=18254

[vulcannonibird]

finally some "better" reviews....I am curious at how it will be reviewed here in europe as some movies that got bashed by us critics got recepted better here....

Still no official german release date.....but senator germany has only confirmed dates up to early april until now....

[CHRIS B]

Is this visible to everyone?

[DrJoseph]

Is this visible to everyone?

I see it...

Pretty as ever...

[oinone]

yeah and great pic! thanks chris!

[oinone]

http://www.worstpreviews....r2.php?id=1049&item=3

a bit different. more mickey rourke, i suppose..

[CHRIS B]

Some Winona screen caps.

[oinone]

now, HD..

http://www.apple.com/trai...independent/theinformers/

[CHRIS B]

The Informers" soundtrack tracklisting

01. New Gold Dream - Simple Minds
02. Dance Hall Days - Wang Chung
03. Shadows Of The Night - Pat Benatar
04. Only You - Justin Meldal-Johnsen, Jason Falkner, Justin Stanley and Dave Palmer
05. Safety Dance - Men Without Hats
06. I Ran (So Far Away) – A Flock Of Seagulls
07. Cars - Gary Numan
08. The Devil Made Me Do It - 7RAY
09. Gone For Good - Justin Meldal-Johnsen, Jason Falkner and Justin Stanley
10. Another Night - Justin Meldal-Johnsen, Jason Falkner and Justin Stanley
11. In A Scarlet Sky - 7RAY