Shorts, 5/12.

By David Hudson on 05/12/2009

Edwin Mak introduces the debut issue of Unspoken, a "Journal for contemplative cinema," which "invites contributors and readers alike to return to explorations of this cinema in its raw inconvenience, to take up the challenge, once again, of accounting for its open-ended and unarticulated cohesion in an interdisciplinary manner. This shall be undertaken an issue at a time, occasionally with a set theme. Our first foray dedicates itself to the stark and implacable visions of Béla Tarr - upon the imminent completion of 'Turin Horse,' and his speculated retirement from filmmaking entirely. And of his selected (post-'Damnation') works, our contributors have sought various ways of describing and re-thinking what creates their unmistakably monolithic presence." Contributors: Yvette Biró (more), Robert Davis, Matthew Flanagan, Edward Howard, Ian Johnston, András Bálint Kovács (more), Edwin Mak, Pacze Moj and HarryTuttle

The Road," John Hillcoat's adaptation of Cormac McCarthy's novel, is "a brilliantly directed adaptation of a beloved novel, a delicate and anachronistically loving look at the immodest and brutish end of us all," writes Tom Chiarella in Esquire:

You should see it for the simplest of reasons: Because it is a good story. Not because it may be important. Not because it is unforgettable, unyielding. Not because it horrifies. Not because the score is creepily spiritual. Not because it is littered with small lines of dialogue you will remember later. Not because it contains warnings against our own demise. All of that is so. Don't see it just because you loved the book. The movie stands alone. Go see it because it's two small people set against the ugly backdrop of the world undone. A story without guarantees. In every moment -- even the last one -- you'll want to know what happens next, even if you can hardly stand to look. Because The Road is a story about the persistence of love between a father and a son, and in that way it's more like a remake of "The Godfather" than some echo of "I Am Legend."

"Bruce Schneier's announced the winner of his annual 'movie-plot threat' contest," notes Cory Doctorow at Boing Boing. The goal this time around was "to find an existing event somewhere in the industrialized world--Third World events are just too easy--and provide a conspiracy theory to explain how the terrorists were really responsible." The winner is HJohn and Schneier finds the set-up "Fairly plausible, and definitely scary."

"Heralding itself as the first musical docu-tragi-comedy in cinema history, ['Courting Condi'] follows aspiring musician Devin Ratray - famously known for his role as Buzz in 'Home Alone' (1990) - in his quest to win the heart of former United States Secretary of State Condoleezza Rice. Ratray's story is an unusual component to what is an otherwise sobering indictment of Rice's time in the Bush administration." For Film International, Alexandra Elfner talks with Ratray and director Sebastian Doggart.

The Siren may define the "Old Dark House" genre a bit differently than some (and she helpfully lists five key elements), but nonetheless: "Since an early age the Siren has devoured these movies like a plate of cupcakes, so having a new one is an unusual treat for her. And thanks to TCM, last night that's exactly what the Siren got, with their screening of the hard-to-find 'The Sign of the Ram.'" And she introduces us to Susan Peters as well as The Obscure Hollow, a blog "For the Love of Haunted Film Decor & More."

Rachel Weisz is considering signing up for the role of Hedy Lamarr in Amy Redford's "Face Value." The Hollywood Reporter's Steven Zeitchik has more.

"Ryan Gosling and Michelle Williams are set for the indie drama 'Blue Valentine,'" reports Michael Fleming for Variety.

Julia Roberts, Anne Hathaway, Jessica Alba, Jessica Biel, Jennifer Garner, Shirley MacLaine, Bradley Cooper and Ashton Kutcher are all likely to be cast in Gary Marshall's rom com "Valentine's Day," reports Hitfix.

"Though the premise might sound like something out of 'Jacob's Ladder,' filmmaker Bart Mastronardi's psychological horror film 'Vindication' owes more to the complex mythologies of Clive Barker novels." Jeremiah Kipp talks with the director at the House Next Door.

At GreenCine, John Esther talks with Atom Egoyan about "Adoration." Related online viewing: Eric Hynes for Reverse Shot.

As I suggested in February, the platform best suited for Sally Potter's "Rage" would be the webisode; now, as Peter Knegt reports for indieWIRE, that's how it'll be rolling out, alongside a more traditional theatrical release.

transmediale.09 presents a guide to its video selection.

Online listening tips. At BOMB, Robert Polito, whose most recent collection of poetry is "Hollywood & God" and who is currently editing an anthology of Manny Farber's film and art criticism, in conversation with David Trinidad, "who wrote 'The Late Show' under the sway of movies, cosmetics, and the NY School."

Also, a talk with Jon Raymond about, among other things, Kelly Reichardt's adaptations of his work ("Old Joy" and "Wendy and Lucy").

Online viewing tip. Jason Kottke has Alex Cornell and Phil Mills's trailer for a Wes Anderson film festival that would take place in Austin this fall if it were real.

[Photo: "Damnation," Hungarian Film Institute, 1988]

Tags: Atom Egoyan, Bart Mastronardi, Béla Tarr, David Trinidad, Devin Ratray, John Hillcoat, Jon Raymond, Robert Polito, Sebastian Doggart, Susan Peters, The Road