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Opening This Week: March 30th, 2007

By Christopher Bonet IFC News [Photo: Paul Schneider and Aaron Stanford in "Live Free or...

By Christopher Bonet

IFC News

[Photo: Paul Schneider and Aaron Stanford in "Live Free or Die," THINKFilm, 2007]

A round-up of the best (or worst) $10 you’ll spend this week.

“After the Wedding”

A Best Foreign Language Film nominee at this year’s Academy Awards, “After the Wedding” is the latest from “Brothers” director Susanne Bier. The film tracks what happens when the headmaster of an orphanage in India (“Casino Royale” baddie Mads Mikkelsen) is sent to his native land of Denmark and discovers a devastating life-altering family secret.

Opens in New York and Los Angeles (official site).

“Blades of Glory”

Will Ferrell stars in yet another sports-related comedy — this time, the SNL vet pairs with “Napoleon Dynamite” himself, Jon Heder, to poke fun at the world of competitive figure skating. Ferrell had a strong 2006, receiving both commercial (“Talladega Nights”) and critical success (“Stranger Than Fiction”) after a subpar 2005, while Heder looks like he’ll get his first hit since 2004. The film promises to feature the most ridiculous wigs since “Alexander.”

Opens wide (official site).

“The Hawk is Dying”

We’d love to see Paul Giamatti expand from his recent string of down-on-his-luck loser characters, but we’ll take loser Giamatti over no Giamati any day of the week. The beloved actor stars as an auto repairman in Gainesville, FL, who begins taming a wild red-tailed hawk to escape from his mundane life. The film comes courtesy of “Trans” director Julian Goldberger and originally premiered at last year’s Sundance Film Festival.

Opens in New York (official site).

“Live Free or Die”

“Seinfeld” writers Gregg Kavet and Andy Robin showcased their first feature film at last year’s SXSW, netting a jury prize and industry attention. The film tells the story of two dimwitted small town criminals (Aaron Stanford and Paul Schneider) on the run from a murder they didn’t commit. And of course, in true indie fashion, Zooey Deschanel offers a supporting hand.

Opens in limited release (official site).

“The Lookout”

Indie darling Joseph Gordon-Levitt stars in this heist thriller directed and penned by “Out of Sight” screenwriter Scott Frank. Gordon-Levitt plays a former high school sports phenom turned mentally damaged janitor who becomes part of a heist at the bank at which he works. We’re pretty much excited for anything Gordon-Levitt does these days, whether it’s getting his “Veronica Mars” on in the high school-set film noir “Brick” or playing a gay prostitute and sexual abuse victim in Gregg Araki’s “Mysterious Skin.” Also, look forward to Jeff Daniels in a supporting role with full “The Squid and the Whale” beard in tow.

Opens in limited release (official site).

“Meet the Robinsons”

Though Disney found commercial success with its first post-Pixar computer animated feature “Chicken Little,” critics complained that its fantastic visuals could not make up for an uninspired storyline and lame pop culture clichés. Things are looking better for “Meet the Robinsons,” as Disney’s second foray into CGI sans Pixar is rich in source material (the film is based on author William Joyce’s bestseller) and spectacular graphics. But doesn’t the main character look a lot like the kid from “Jerry Maguire”? What’s the deal with that?

Opens wide (official site).

“Race You to the Bottom”

Two best friends run off together on a sexually liberating (and metaphorical!) road trip to Northern California, leaving their respective boyfriends at home while shacking up on their way to the Golden State in Russell Brown’s feature directorial debut. “Buffy”‘s Amber Benson and “Harry + Max”‘s Cole Williams star as the sexually nebulous couple.

Opens in Los Angeles (official site).

“Ten ’til Noon”

Repetition is the name of the game in this Scott Storm-directed indie in which the same ten minute period is shown through the eyes of ten people all connected to the same crime. While the film’s premise clearly shifts the formula of mainstream crime thrillers, we’re betting that you’ll be exhausted by the film’s midpoint. Just imagine watching each season of “24″ within a 90 minute framework.

Opens in Los Angeles (official site).




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