Urban Explorer

A Papermoon Films presentation in association with Rialto Film and MH Films. (International sales: Accelerator, Studio City/London.) Produced by Oliver Thau. Executive producers, Felix Wendlandt, Martin Hellstern. Directed, edited by Andy Fetscher. Screenplay, Martin Thau.With: Nathalie Kelley, Nick Eversman, Max Riemelt, Catherine de Lean, Brenda Koo, Klaus Stiglmeier. (English, German dialogue)The young-people-in-distress subgenre is nudged toward human-scale horror in director-editor-lenser Andy Fetscher's effective second feature, "Urban Explorer." Firmly located and filmed in the Berlin underground, pic cannily blends formula tropes with 20th century German political terror, from the Nazi era through the East German Stasi -- and may put a damper on the fad of exploring urban sewer systems. Pic will rack up killer numbers overseas, and likely raise interest from a U.S. buyer with an eye for sequels. The early passages quickly intro the quartet of city spelunkers eager to plunge into Berlin's vast underground system of tunnels and constructions far below the U-Bahn subways. Though not readily apparent, the group reps a U.N. of youth: Lucia (Nathalie Kelley) from Venezuela, her American b.f. Denis (Nick Eversman), plus gal pals Marie (Catherine de Lean) from France and Juna (Brenda Koo) from Korea. They're frisky, but about to get a sober dose of what's facing them from Berliner guide Kris (Max Riemelt). Kris' main goal is to get the foursome all the way to a once-secret Nazi bunker and back in one piece. The bunker was recently discovered and then sealed shut by authorities, out of concern it would become a gathering place for neo-Nazi groups (a detail needlessly repeated in screenwriter Martin Thau's fairly arch English-language dialogue). An early encounter with a group of thugs with mean-looking dogs portends trouble. As they make their way toward the bunker, Kris instills fear in the group by describing the urban myth of the "Oden People," tall Nazis who survived underground all these years and may have turned even more fiendish as a result. Fetscher skillfully develops the eerie atmosphere, but considering their many obstacles (rats, tricky passageways), the explorers manage to get to the bunker rather swiftly. For all the Nazi talk, Fetscher and Thau set up a second and third-act menace with more contemporary implications for the city of Berlin, and for Germany. The steps along the way toward the quartet's encounter with Armin (Klaus Stiglmeier, who resembles an unholy melding of Lee Marvin on a very bad day with Klaus Kinski -- with an incredible set of teeth), and the subsequent payoff plays out for near maximum impact. Fetscher avoids the temptation to push the situation into an exercise in torture porn -- an option he easily could have gone for, while nevertheless ratcheting up the horror. Indeed, his one-man-band combination of direction, lensing and editing proves crucial, displaying a balance of craft and patience in building layers of suspense under a horrific setting that goes beyond any urban explorer's worst nightmare. The cast of largely young unknowns and on-the-cuspers (like Eversman) are more than game, having to act in fairly disgusting non-studio interiors. Noirish shadows in the pic's early stages give way to sickly greens and oranges later, while sound designer Nigel Holland adds considerable sizzle. Steven Schwalbe's and Robert Henke's score is standard stuff.Camera (color, DV), Fetscher; music, Steven Schwalbe, Robert Henke; production designer, Nobel Nobielski; set decorator, Agata Uchman; costume designer, Dorota Budna; sound (Dolby Digital), Christian Schossig; sound designer, Nigel Holland; supervising sound editor, Holland; sound re-recording mixer, Christian Bischoff; visual effects supervisor, Janosch Benz; special effects designer, Jens Doldissen; special effects makeup, Waldemar Pokromski; stunt coordinator, Bruno Montani; assistant director, Peter Fuchs; casting, Monika Mikkelsen. Reviewed at Fantasia Film Festival, July 24, 2011. MPAA Rating: R. Running time: 94 MIN. Contact the Variety newsroom at news@variety.com

Rainn Wilsons Office Praise For James Spader: Hes Killing It!

LOS ANGELES, Calif. -- The early reviews are in on James Spader’s performance on “The Office” â€" and at least one of his co-stars is a big fan. “James Spader is killing it!!!” Rainn Wilson â€" who plays neurotic salesman Dwight Schrute on the hit NBC sitcom â€" Tweeted on Thursday afternoon. As previously reported on AccessHollywood.com, Spader has joined the cast as new Dunder Mifflin branch manager Robert California, who quickly ascends from his branch position to CEO of the office’s parent company, Sabre. Rainn has previously expressed his admiration for the incoming veteran actor, who joined the cast for a cameo in the season finale last year before joining the show full-time. “I got to do some scenes with, really, a hero of mine, James Spader, who is, I think, one of America’s greatest actors,” Rainn told Access back in May around the time of the season finale, offering a forecast of what could be to come between Dwight and Spader’s character. “[He’s] a really confident kind of savant business manager type and he just really rubs Dwight the wrong way so they have these power battles.” Steve Carell â€" who played the iconic yet bumbling branch boss Michael Scott before leaving near the end of last season â€" also offered his approval of his replacement. “I think it’s an excellent choice,” Steve told Access earlier this month. “I think it’s great and he will infuse all this new energy into the show.” Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

Grace Is Gone

Grace Is Gone is a 2007 drama film starring John Cusack as a father who does not want to tell his two daughters that their mother has died while serving in Iraq. On January 29, 2007, it won the Audience Award for Drama at the 2007 Sundance Film Festival.

The film was produced by Plum Pictures and New Crime Productions and purchased by Harvey Weinstein for distribution by The Weinstein Company. Weinstein announced plans to mount an Academy Award campaign on behalf of Cusack. This also marks the first time Clint Eastwood composed a film that he did not write, direct or star in.