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Aug 29 11 8:17 PM
ohvaI have tons of friends. They're just all online.
Aug 30 11 6:22 AM
asprey wrote:^^^ITA. It's going to backfire on them professionally and with the audience. They're marketing this as some kind of Texas Chain Saw Massacre type of movie but at the same time trying to use Alex's appeal to women to get them to see this. Stoopid! Stoopid! Stoopid!
Sep 2 11 2:47 PM
Sep 6 11 9:28 PM
Opening: September 16th
Director Rod Lurie has him some brass balls, remaking Sam Peckinpah's
polarizing Straw Dogs. Critics are still obsessively chewing on Bloody
Sam's 1971 take on violence and what defines rape. They'll chew again – in a
different but equally provocative way – as a wussy L.A. screenwriter (James
Marsden) relocates with his TV actress wife (Kate Bosworth) to her home in the
South and encounters the stud (Alexander Skarsgård) she once loved. Lurie's
incendiary film means to shake you – and it sure as hell does.http://www.rollingstone.com/movies/photos/peter-travers-fall-movie-preview-20110906/straw-dogs-0971227
Sep 7 11 5:52 AM
asprey wrote:So we're still getting previews but not actual reviews? Okay.
Sep 9 11 6:03 PM
by Nia Edward-Behi
the brand new shiny poster for Rod Lurie’s remake of Straw Dogs for
Sony Screen Gems, which stars James Marsden, Alexander Skarsgård and !$%! Boswell, and is due for release in the US in September and the UK a month later.
taking its inspiration from the iconic poster for the original
Peckinpah film, it shows a black and white close up of David Sumner’s
face, one lens of his spectacles broken. So far, so Seventies – but now
in place of that lens is the fiery image of Charlie, David’s rival, who
will be central to the film’s violent climax.
photoshopping aside, there’s something not quite right about this
poster. The original was a powerful statement about David’s character
and about the fundamentally difficult questions the film raises. Stark,
monochrome and grainy, it effectively encapsulated the uneasy position
of David as both hero and villain of the film. This new poster seems to
be screaming ‘yeah, we’ve got Cyclops, but look! Erik from True Blood is
in this film too!’…canny marketing to get bums on seats, perhaps, but
not so much for instilling hope that the film might be anything more
than a quick money-maker. I know, I should stop being so cynical about
these remakes, but when the poster recalls the original in such a
pointed and blatant way, I will make as many skeptical comparisons as I
think updating Straw Dogs is potentially interesting – we’re currently
in a very different climate to that of the Seventies, and themes
prevalent in the original film, such as the role of women in society,
would merit an interesting reappraisal. The poster declares writing
credits to Lurie, the original Straw Dogs script by Peckinpah and David
Zelag Goodman, and the original novel, ‘The Siege of Trencher’s Farm’ by
Gordon Williams, so to what degree the film will simply be a retread of
Peckinpah’s film will remain to be seen. The trailer that was released a
few weeks ago doesn’t seem to imply it will be doing anything
drastically different, and this poster gives me the same, sad
impression. The film intrigues me, but mostly in a ‘how mediocre will
this be’ sort of way…so I won’t even start on ‘everyone has a breaking
point’ and that hideous red font.
Sep 9 11 6:04 PM
Sep 9 11 6:07 PM
July 8, 2011Source: Awards Dailyby Ethan Anderton
Last month, we got a look at the first poster for Straw Dogs, the remake of the 1971 film from
director Rod Lurie. Considering the fact that the original poster has
been regarded as one of the best of its time, apparently those who
crafted the new poster just didn't think they could do any better and
merely recreated the poster, but with James Marsden's glasses broken and Alexander Skarsgaard being reflected in them. But you can't have a reflection without glass, and while I would've preferred thewhole poster be redesigned, a new version, with better real-life representation of reflections and glass has surfaced.
Seems weird that they removed the color from inside the lens of the glasses, but whatever:
And just to refresh your memory, here's the original first poster with the reflection on no glass:
screenwriter David Sumner (Marsden) relocates with his wife to her
hometown in the deep South. While tensions build between them, a brewing
conflict with the locals becomes a big threat to them both.
Straw Dogs is both written and directed by Israeli filmmaker Rod Lurie, of The Contender, The Last Castle, The Nazi, Resurrecting the Champ and Nothing But the Truth.
This is a remake of David Zelag Goodman & Sam Peckinpah's 1971
film, based on Gordon Williams' novel "The Siege of Trencher's Farm".
Screen Gems is finally bringing Straw Dogs to theaters starting on September 16th this fall.Anyone interested in this?
Sep 9 11 6:09 PM
Miami.com’s Rene Rodriguez on Straw Dogs:
I noticed Rod Lurie’s Hay Dogs (because
of out Sept. 16) today and was instantly struck by 2 things: 1) The
actual film is virtually identical to Mike Peckinpah’s original, yet
feels different (this is actually easily Lurie’s best are a director);
and 2) the actual violence isn’t almost as shocking in 2011 since it was
in 1971, however it doesn’t feel because cathartic or rousing when i
expected. Instead, the actual mayhem felt vaguely dismal – a image,
bloody depiction of losing humanity.Pauline
Kael famously known Peckinpah’s movie like a “fascist film, ” but I
doubt she’d say the exact same about Lurie’s edition, which boasts a a
smaller amount graphic rape series and still-gory however swift violence
which Lurie’s camera doesn’t remain on. I’ve been requesting around
lately as well as haven’t found an individual outside of film critics
and film buffs that has seen Straw Dogs: Peckinpah, I believe, did a small too good employment at making certain his film was an embarrassing experience.
Sep 9 11 6:13 PM
everywhere can’t wait to see Alexander Skarsgard when he takes the lead
as a violent local menace in the Americanized remake of the classic
1971 Dustin Hoffman thriller Straw Dogs next month.
Drew Powell co-stars as one of Skarsgard’s vicious cronies and, in a Wetpaint Entertainment exclusive interview, he tells us all about the intensity of the shoot in Shreveport, La., working with Alex, and which other True Blood fan fave stopped by for a visit.
You and Alexander Skarsgard play two of the “straw dogs” who terrorize
a young couple that moves into your town. What’s a straw dog?
Drew Powell: Four
local guys working on the barn next to the house that Kate Bosworth
and James Marsden are inheriting; it’s actually Kate Bosworth’s old
family house. These are small town, Southern guys — former football
players who kind of peaked in high school and have not really done much
with their lives since. That kind of typical, good ol’ boy,
beer-drinking, closed-minded kind of character. My character is named
Bic and Bic is kind of the comic relief. You know it’s a pretty intense
movie. He’s kind of a goofball, a sinister goofball, but a goofball
What was Alexander like to work with?
a great guy. He’s a friend of mine. He’s just a class act. You know,
he’s got a lot of time for his fans. He’s kind of blowing up. He was
just starting to blow up when we were shooting in 2009, his character
was getting more to do on True Blood. So he was starting to get
fans coming in and waiting for him in town. And then the four of us
guys just had an instant camaraderie. We were in Shreveport, going out
together and spending every day together working, doing construction
and stuff. Luckily that wasn’t hard for us.
How were Kate and James?
were great. They’ve both been doing this for a while, they’re real
pros. This is a heavy movie. This is not a walk-in-the-park kind of
movie. They had a lot to do, a lot of emotional stuff and a lot of
action stuff, and they handled it really well. I have nothing but good
things to say about those guys.
Sep 9 11 6:14 PM
The Fan Carpet have added some great new shots from upcoming remake Staw Dogs featuring the lovely Kate Bosworth yielding a shotgun.
Director Rod Lurie boldly tackles a reimagining of Sam Peckinpah's
Straw Dogs, the classic 1971 home-invasion thriller with this Screen
Gems production which sees James Marsden stars as a writer who moves
with his wife (Kate Bosworth) to a backwoods Southern town, where they
are met with much resistance from the townsfolk.
The reimagining comes to cinemas on October 28 and features a
talented cast of True Blood's Alexander Skarsgård, James Woods, Dominic
Purcell and Willa Holland.
Straw Dogs Photos
STRAW DOGS HITS CINEMAS ON OCTOBER 28
Sep 9 11 6:20 PM
Sep 9 11 6:22 PM
Tue, Sep 6 at 7 pmLeonard Nimoy ThaliaSingle Tickets: $24; $22 for members. But if Purchased with Fall Series Subscription: $19; $17 for members
This Thalia Film Club Xtra pre-screening will introduce audiences to an exciting filmStraw Dogs (2011) and so begin a new season of the very successful Thalia Film Club, hosted by Marshall Fine.
A remake of Sam Peckinpah's 1971 classic,Straw Dogs packs a punch. literally.
Starring James Marsden (Superman Returns, X-Men), Kate Bosworth (Superman Returns, The Rules of Attraction), and Alexander Skarsgård (True Blood, 13), Rod Lurie'sStraw Dogs carries
themes over from the 1971 film - what it means to be a man, the
sometime necessity of full-on violence, the question of whether a
well-educated city couple can withstand the hardened force of smalltown
virility. But Rod Lurie (who wrote and directed 2000 political thriller The Contender)
brings a new cinemegraphic edge to the film, moving the setting from
England to the American South and casting Marsden as screenwriter rather
than mathematician. The film also stars James Woods in a minor role.
Brief Synopsis: L.A. screenwriter David Sumner has relocated with his
wife to her hometown in the deep South. As tensions with the locals
there arise, misunderstandings in their relationship and about
themselves grow, until their very home is under siege. The film climaxes
in a thrilling, if disturbing, scene of violence.
In theaters September 16th.
film has been rated R for STRONG BRUTAL VIOLENCE including a sexual
attack, menace, some sexual content, and pervasive language.
After the show, take advantage of a rare opportunity to talk with Writer and Director Rod Lurie!
The Thalia Film Club's fall series will officially begin Tuesday, October 18. (Tickets onsale now.)
Sep 9 11 6:27 PM
Sep 9 11 6:28 PM
Sep 9 11 6:30 PM
Sep 9 11 6:32 PM
Rod Lurie knew he was trampling on sacred ground when he decided to
pursue a remake of “Straw Dogs,” the 1971 thriller directed by Hollywood
legend Sam Peckinpah. Still, the reaction to his soon-to-be-released
film has surprised him.“The biggest challenge,” he said, “is
keeping your composure as just about every film writer and film blogger
in the world attacks you for having the audacity to remake what they
consider to be a classic film.”Brandeis movie-goers will have
the opportunity to judge Lurie’s much-anticipated film for themselves at
7 p.m. on Sept. 8 during a special pre-release screening at the
Wasserman Cinematheque. Lurie will also conduct a Q&A with
attendees. The event is sponsored by the Edie and Lew Wasserman Fund,
and the Film, Television and Interactive Media Program (FTIM).“This
screening has created buzz all over campus,” said professor Alice
Kelikian, director of FTIM. “Rod Lurie’s masterful remake 40 years later
of the Peckinpah classic presents its own compelling ruminations on
marriage, masculinity and social class.”Lurie’s version of
“Straw Dogs,” which stars James Marsden, Kate Bosworth and Alexander
Skarsgard, opens nationwide on Sept. 16. It tells the story of an LA
screenwriter who, along with his wife, relocates to his hometown in the
American South. As tensions grow between husband and wife, problems with
the locals arise.Lurie isn’t giving any hints about how his
film differs from the original, which was controversial at the time of
its release four decades ago for its violence and debasement of women.“Suffice
it to say that I was never enchanted with Peckinpah's philosophies on
human behavior or his attitude towards women,” said Lurie, who also
wrote the film’s screenplay. “I don't want to talk too deeply about that
because he isn't alive to defend his name, but it certainly came into
the context of my making the film.”
The remake is set in the American South, far from the southwest corner of England where the original took place.“I
wanted to pick a location that Americans and people around the world
could relate to,” Lurie explained. “The American South is iconic and
familiar to so many. I don't understand what value I could have brought
by once again setting it in a small Cornish town – a place I have no
experience with and don't know of anyone personally who can relate to
best-known work, the political thriller “The Contender” (2000), earned
two Oscar nominations. He worked with Robert Redford on “The Last
Israeli-born Lurie, 49, has followed a non-traditional path to the
movies. He graduated from the U.S. Military Academy at West Point in
1984, served in the military, and became an entertainment reporter and
film critic before starting to make movies.
of the pieces of advice I've always given to film students is to not
look at film school as a sure thing to becoming a member of the film
industry,” he said. “I learned everything I need to know about
filmmaking by watching movies and making my first short. The rest came
with the experience of actually making films. The thing that I most
recommend is that people go to school to study what they want to make
movies about. I can't stress that enough.”For tickets or more information, contact Dona DeLorenzo at 781-736-8270 or by email.
Sep 9 11 6:33 PM
LIKE the children poking at scorpions in the opening shots of“The Wild Bunch” Sam Peckinpah knew
how to stir things up. In 1971, two years after that exhilarating and
phenomenally bloody western made him one of the most famous — or
infamous — directors in America, Peckinpah took a crew to the Cornish
countryside and came back with a movie called “Straw Dogs,” which upset audiences in a new, and perhaps more intimate, way.
film doesn’t have the triple-digit body count of “The Wild Bunch,” but
the violence here takes place, disturbingly, in a cozy domestic setting,
among people who are not, as the Bunch and their adversaries were,
killers by profession. This time there’s also sex, the other great
generator of outrage in the audiences of that unsettled era — and scary,
bruising sex, at that. Peckinpah’s “Straw Dogs” is like Strindberg with
weaponry. It was one of the most controversial films of a time that
seems, in retrospect, a kind of golden age of controversy.
Now the director Rod Lurie has undertaken to remake “Straw Dogs,” due
Sept. 16, and the question is whether this story can rile up moviegoers
as it did 40 years ago. Mr. Lurie is very faithful to the plot of the
original film, more faithful than Peckinpah and his co-writer, David Z.
Goodman, were to the Gordon Williams novel on which their screenplay was
films are, in essence, about small-town hostility to outsiders and,
more broadly, to anyone who seems different; in both, the community’s
hatred is implacable, impervious to charm or reason. Peckinpah’s
protagonists are a bespectacled mathematician named David (Dustin Hoffman) and his hot young wife, Amy (Susan George); Mr. Lurie’s are a bespectacled screenwriter, also named David (James Marsden) and his hot young wife, Amy (Kate Bosworth).
In both versions the couple have just moved to the town where Amy grew
up, to live among her old neighbors, ex-lovers and disappointed former
admirers, all of whom are getting their first, deeply skeptical look at
the fancy-pants husband she’s brought back with her.
Lurie changes the setting from Cornwall to the Gulf Coast of
Mississippi and reduces the gap in age between husband and wife. (Ms.
George was all of 20 years old during production, Mr. Hoffman in his
mid-30s.) But he leaves the original bad dynamics firmly in place. David
still condescends to Amy; the locals still leer at her and laugh at
him; and she again grows frustrated with his failure to confront them.
And in 2011, as in 1971, the small tensions find their expression in a
series of steadily escalating acts of violence: from cat killing to rape
to murder to more murder and then some more. The new David, like the
old, doesn’t stand up for himself and his wife until the only option
left is bloodshed.
film came out at a time when violence was on everyone’s mind and,
increasingly, all over the screen as well. “Straw Dogs,” Stanley
Kubrick’s vicious “Clockwork Orange” and Don Siegel’s inflammatory
vigilante-cop thriller “Dirty Harry” opened
within weeks of one another, and each, predictably, triggered a fair
amount of debate in the press and among the audiences walking out of the
theaters. (Sometimes before the movie was over. According to David
Weddle’s superb 1994 Peckinpah biography,
“If They Move ... Kill ‘Em!,” a good third of the viewers at the first
preview of “Straw Dogs” were gone by the time the lights came up.)
high-running feelings were, of course, largely products of anger and
anxiety about the major social issues of the day: the war in Vietnam,
the turbulent progress of racial equality, the gathering militancy of
feminism. People were arguing, about one thing or the other (or
everything at once), pretty much 24/7; and in those years before cable
news and the Internet — which now supply enough teapots for dozens of
tiny tempests every day — the topics of debate were relatively limited,
and remained more or less constant. Everyone talked in circles and
didn’t agree on much, but there was, at least, some consensus on what we
should be talking about.
the original “Straw Dogs” Peckinpah somehow stirred everything that
seemed to matter in 1971 into one small, lethal concentrate. Even the
war and race are present, by their conspicuous absence; fairly early in
the film, Amy accuses David — who is American — of having buried himself
in his work in sleepy Cornwall to avoid having to “take a stand” in his
the burning American questions that one was expected to take a stand on
in that era: Was violence inevitable, necessary, or justified to defend
oneself against, say, institutionalized bigotry, or the oppressive
machinery of a belligerent state? For that matter, was the threat of
Communism in Southeast Asia a good enough reason for Americans to be
killing large numbers of Vietnamese? Peckinpah’s David doesn’t appear to
be a pacifist; he’s just pacific, and hugely averse to confrontation.
As Hoffman plays him he is fundamentally a coward, with an
intellectual’s well-developed ability to rationalize inaction. And his
wife knows it.
Mr. Lurie’s canniest alteration to “Straw Dogs” is the choice of his
hero’s profession. Making David a screenwriter links him, almost
subliminally, to the character played by Michel Piccoli in Jean-Luc
Godard’s 1963“Contempt,” another screenwriter who loses the respect of a beautiful wife, and for the same reason: he won’t, or can’t, protect her.
with “Contempt,” the disdain the woman directs at her husband is a
source of intense discomfort, even pain, for men in the audience; no man
can bear to be looked at that way by someone he loves. So viewers of
the male persuasion may well feel a sense of profound relief when the
weak, beleaguered hubby finally decides he’s had enough of the
townsfolk’s bullying and blows a few of his tormentors away. At least he
— and the rest of us guys — won’t have to see any more of those awful,
climactic violence of Peckinpah’s “Straw Dogs” was the obvious reason
so many early-’70s viewers took offense, but the most potent ingredient
in this warlock’s brew is its raw, unlovely view of the relations
between men and women. There are few more unnerving scenes in movies
than the rape of Amy by her ex-boyfriend, Charlie (Del Henney), and what
makes it so memorably terrifying is the awful ambivalence it engenders
in both the victim and the viewer — of either sex. Appallingly, Amy, who
resists strongly at first, begins to feel some stirrings of pleasure as
her old lover does his worst.
maybe more unsettling, though, for any viewer who considers himself or
herself reasonably civilized, is that you sort of understand why: her
husband’s wishy-washiness (and persistent passive-aggression) has primed
her for Charlie’s brutal decisiveness.
one of Charlie’s mates takes a turn, and a scene that already seems
agonizingly long returns, and then some, to its initial unambiguous tone
of horror. (This second rape was shortened for the film’s first
American release, to avoid an X rating.) But the damage to the
audience’s sense of itself is done, and is never, for the rest of the
film, fully restored. Although Peckinpah’s focus in the rape sequence is
primarily on Amy’s shifting reactions — Ms. George’s performance, in
these difficult conditions, is extraordinarily subtle and vivid — his
characteristically inventive editing keeps us aware of her absent
film cuts periodically back to David, seen sitting forlornly in a field
where he has been abandoned by Charlie and his buddies. The
crosscutting naturally underlines David’s ineffectualness, an emphasis
that seems, at that moment, in the coals-to-Newcastle category; we’ve
had plenty of evidence. Before the picture is over, though, the meaning
of those cuts seems, like everything else in this slippery movie, to
the violent and unbearably tense final sequences, when David repels a
drunken gang — Charlie and other local luminaries — trying to invade his
home, Amy stands by helplessly until the very end, looking about as
useful as her husband did in that lonely field. And throughout the siege
we can see David too beginning to enjoy something he really shouldn’t:
the act of killing other human beings. This perverse parallelism
operates in Mr. Lurie’s “Straw Dogs” too, but Peckinpah had a special
genius for messing with his viewers’ heads. And he was working in the
right time for that particular talent to flourish, because although
everybody was debating everything, there were certain things we thought
we knew about the fundamental natures of men and women: questions most
of the audience thought of as settled.
was Sam Peckinpah’s nature to want to show his audience what it didn’t
want to see, to make it feel what it didn’t think it could feel. When
you watch his “Straw Dogs,” you come out knowing more about yourself. Or
perhaps less. All you can tell for sure is that it hurts.
Sep 12 11 5:34 PM
Rod Lurie’s “Straw Dogs” is a solid, tense drama that packs a wallop
and tells its story on Lurie’s own terms. It’s less a remake than a new
version of the story, filtered through Lurie’s vision.
Sam Peckinpah’s 1971 film was a violent hymn to the notion of the
territorial imperative: that man is inherently violent and prone to
expand his territory at the expense of others, whether he needs to or
not. Peckinpah celebrated the animal within, using a mathematician
(played by Dustin Hoffman) to further demonstrate that even the mildest
of man harbors a killer within.
Lurie follows Peckinpah’s story closely, though he’s transferred the
setting from rural England to the small-town American South. Yet he has
made a film which, while just as violent and tense as Peckinpah’s, seems
less Darwinian, if only by degree.
In Lurie’s version, the couple, David and Amy Sumner (James Marsden
and Kate Bosworth), return to her family home on the Gulf Coast in
Mississippi after the death of her father. She’s the small-town girl
made good, the homecoming queen who ditched the football captain to
escape the South and find stardom in Hollywood. David is an amused Ivy
Leaguer, a preppie who has made it as a screenwriter, who views this
move to the South as though he were a sociologist studying a previously
The old homestead needs some repairs, so he hires a group of locals,
led by Charlie (Alexander Skarsgard), who turns out to be the football
star that Amy left behind. When Charlie and his roughneck crew show up,
there’s obviously a yawning cultural chasm between them and David, no
matter what he tries to do to be accepted.
Except, of course, that he’s always looking down his nose at them,
even when he’s trying to be one of the boys. They, in turn, are cagey to
the point of being predators; their Southern politesse masks a vicious
passive-aggressive quality that is constantly testing the boundaries
that David will allow them to cross.
David sees himself as the civilized man, the guy who is sure that
there is a rational, if not intellectual, solution to any problem. When
that problem is a dead cat left hanging in their closet, subtlety would
seem to go out the window.
Lurie beautifully sets up the tension between the rednecks’ casual
cruelty, David’s determined high-mindedness and Amy’s increasing
frustration with David’s passivity. But he also reveals David as a man
who can only be pushed so far before he makes his stand.
And what a stand it is. This is, after all, a movie based on a book
called ‘”The Siege at Trencher’s Farm” and the film’s finale is every
bit of that: a bloody battle with improvised weapons and a kill-or
be-killed ethos. Lurie lights the fuse that leads to this explosion
early on – yet even having David’s current project be a screenplay about
the siege of Stalingrad isn’t enough foreshadowing for the brutality of
the final confrontation between David, Amy and Charlie’s crew.
That sequence drew squeals of outrage from sensitive movie-goers when
Peckinpah’s film came out. So did a rape scene that implied a certain
pleasure on the part of the victim in the original, something Lurie
eliminates in this film. There’s none of that macho “See? She really
wanted it after all” to the assault when it happens here.
A strong cast offers breakthrough performances for its stars: James
Marsden, Kate Bosworth and Alexander Skarsgard, who positively smolders.
The film is a knock-out – gripping, suspenseful and thought-provoking.
Lurie’s film is bound to be just as controversial as Sam Peckinpah’s
original for its depiction of violence. But it’s a smart, provocative –
and exceptionally intense and exciting – movie.
Sep 12 11 7:19 PM
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