Suffering from the Hollywood blockbuster blues? Have I got some indies for you! All three are newly available this week on DVD.

Kim Voynar called Vadim Perelman's The Life Before Her Eyes "a lovely, nuanced film packed with imagery, and bracketed by an intriguing storyline." The story revolves around the survivor of a school shooting; Uma Thurman plays her as an adult and Evan Rachel Wood as a teenager. Kim wrote in part: "I'd expect the director's commentary on the DVD to be intriguing." The DVD does indeed feature an audio commentary by the director, joined by production designer Maia Javan. Also included are deleted scenes, an alternate ending, and several other mini-features. A Blu-ray edition is also available.

Kim also reviewed Tommy O'Haver's An American Crime when it debuted at Sundance last year. Based on the true tragedy of teenage Sylvia Likens (Ellen Page) who was "brutally beaten, burned, starved and tortured to death" in 1965 Indiana, Kim said the film was difficult to watch. "The real question ... is not just how the Sylvia Likens case could have happened, but why situations like this happen at all -- and still do." Catherine Keener and James Franco also star. The DVD doesn't appear to have any supplemental material.

On the lighter side, Bharat Nalluri's Miss Pettigrew Lives For a Day "is a nearly perfect piece of entertainment for grownups," according to James Rocchi. Frances McDormand plays a down-on-her-luck British governess and Amy Adams essays her employer, an American singer / actress in late 1930s London. The DVD includes a "making of," deleted scenes, and "Miss Pettigrew's Long Trip to Hollywood."

Well, here's some news I've been hoping to write up for a long while now ... director Vadim Perelman has officially dropped the adaptation of Atlas Shrugged, which is presumably still set to star Angelina Jolie as Dagny Taggart. Perelman signed on to the project last September, and as recently as April ComingSoon.net reported that the project was still a go. It may or may not still be moving forward, but I have it from the most reliable source possible -- Perelman himself -- that it will not be going forward with him at the helm.

CHUD wrote up this piece about Angelina Jolie supposedly telling MTV that Perelman was never signed to direct at all -- something Perelman finds interesting, since he had a signed contract that attached him, and Lionsgate (not Perelman, as CHUD asserts, though Perelman has done interviews about his attachment to the project) had put out many press releases announcing him as the director. Perelman was attached, and I can say with as much certainty as one can possibly have about a situation like this that the decision to step down was on Perelman's side.

It's been five years since Vadim Perelman's critically acclaimed feature debut with House of Sand and Fog. Now the director is back with his newest film, The Life Before Her Eyes, starring Uma Thurman, Evan Rachel Wood and Eva Amurri. The film is about Diana, whose life starts to crumble as the 15th anniversary of the school shooting she survived nears; it flashes back and forth between older Diana (Thurman) and the younger Diana (Wood) and her best friend Maureen (Amurri) in the weeks leading up to the tragic event. Cinematical sat down with Perelman and Amurri at AFI Dallas to talk about the film, which opens in limited release this weekend.

Cinematical: Eva, can you talk about the challenges of playing this role, which is much more of "nice girl" than you've played in your previous films?

Eva Amurri: The earlier roles I'd had just happened to be more bad girls. This is the first role I'd had where the role was basically all good, this very pure, selfless girl. What's funny is that Vadim really cast us against type – in real life, I'm much more the "bad" girl, while Evan is the serious "good" girl. I was a little worried about it, but I trusted Vadim, and he did a great job guiding us through it. It was an interesting exercise.

(Editor's note: This review originally ran during AFI Dallas. It's being rerun this weekend in conjunction with the film's release.)

I loved House of Sand and Fog, and I've been waiting five long years to see what director Vadim Perelman would come up with next. His latest effort, The Life Before Her Eyes, starring Uma Thurman, Evan Rachel Wood and Eva Amurri, is a lovely, nuanced film packed with imagery, and bracketed by an intriguing storyline. The film revolves around Diana, played as a teenager by Wood and an adult by Thurman; the younger Diana was a survivor of a high school shooting, as as the 15-year anniversary of the tragic event nears, the older Diana begins to unravel.

Perelman is not a director who hand-feeds his audience easy answers. With House of Sand and Fog he made heavy use of its moody, gray and brown pallette to set a dark and unsettling mood. With The Life Before Her Eyes, he turns to brilliantly saturated hues of flowers and water to create a sublime tone that evokes what's going on with Diana. The perfect life with professor husband Paul (Brett Cullen) and daughter Emma (Gabrielle Brennan) that she's worked so hard to create is a fairy tale fantasy built on an unstable foundation of unresolved guilt, and we know from the first frames that, hard as she works to sustain it, it's as fragile as the petals of the flowers that embower her garden.

I've been mulling over the whole issue of the Atlas Shrugged film adaptation, which, at the moment at least, seems to be churning ahead to start filming later this year, and I wanted to talk about something several commenters have mentioned: whether it would be better to film Atlas as a miniseries, as opposed to a two-hour-or-longer movie. Of course, attempts have been made to bring Ayn Rand's most famous book to the screen before, and they've never made it past the script stage.

Why? Well, first of all, there are a lot of politics around this book. The Ayn Rand Institute and Leonard Peikoff have been notoriously protective of it for years, and trying to make a film that's going to please both the hardcore Objectivists (those who follow Rand's philosophy) and the average moviegoer who just wants to be entertained is, in my opinion, just an exercise in futility. Then I read this interview over on The Atlasphere with John Aglialoro, producer and CEO of Cybex, International, who paid $1 million for the film rights to Atlas.

Despite the talk and the buzz, I never thought it would actually happen. If any novel merits the term "unfilmable," certainly Ayn Rand's Atlas Shrugged is it. I mean, the climax is a 60-page radio broadcast! And the entire thing is what can charitably be called a screed, preaching Rand's extremely unliberal "objectivist" political philosophy. So when I heard that Vadim Perelman (The House of Sand and Fog and the upcoming The Life Before Her Eyes) was developing the project, with Angelina Jolie attached to star as Dagny Taggart, my reaction was quite simply: Pfffffft.

But it looks like I pfffffted too soon. Comingsoon.net talked to Perelman this week, and he told them that he's finishing up the script, and that Lionsgate wants to start shooting in December. So, uh: it looks like this might actually happen.

I would commit atrocities to get my hands on a copy of Perelman's screenplay. I can only imagine what it does to condense the thousand-page-plus book into even a very long movie. What worries me most is that the novel doesn't really exist without Rand's politics, if that makes any sense: they're so integral to the story that cutting them out would make everything else pretty much pointless. And I'm not sure Hollywood -- even the relatively adventurous Lionsgate -- has the stomach for a politically faithful adaptation.

I loved House of Sand and Fog, and I've been waiting five long years to see what director Vadim Perelman would come up with next. His latest effort, The Life Before Her Eyes, starring Uma Thurman, Evan Rachel Wood and Eva Amurri, is a lovely, nuanced film packed with imagery, and bracketed by an intriguing storyline. The film revolves around Diana, played as a teenager by Wood and an adult by Thurman; the younger Diana was a survivor of a high school shooting, as as the 15-year anniversary of the tragic event nears, the older Diana begins to unravel.

Perelman is not a director who hand-feeds his audience easy answers. With House of Sand and Fog he made heavy use of its moody, gray and brown pallette to set a dark and unsettling mood. With The Life Before Her Eyes, he turns to brilliantly saturated hues of flowers and water to create a sublime tone that evokes what's going on with Diana. The perfect life with professor husband Paul (Brett Cullen) and daughter Emma (Gabrielle Brennan) that she's worked so hard to create is a fairy tale fantasy built on an unstable foundation of unresolved guilt, and we know from the first frames that, hard as she works to sustain it, it's as fragile as the petals of the flowers that embower her garden.

I'm in Dallas for the second AFI Dallas Film Festival, and having a great time so far. The fest has worked through some of those first-year kinks and things seem to be sailing along smoothly, though I know there's probably lots of finagling going on behind the scenes that makes whatever glitches do come up invisible to most of us here. Shuttle service for passholders this year is making it much easier to navigate the fest quickly and efficiently between venues. The festival lounge is great this year -- the space is nicely decorated, there are always yummy snacks on hand, the drinks flow all night long, and Guitar Hero battles happen nightly.

I kicked things off here on Tuesday moderating a panel on women filmmakers for a private event held for a group of high-powered corporate women. Filmmakers SJ Main (Luck of the Draw) and Robin Bliley (Circus Rosaire) made my job super easy; both had many insights to share about being independent filmmakers and women working in the business, and the women (and their husbands) in attendance had many thought-provoking questions that kept the tone conversational and interesting.

Above is the trailer for Vadim Perelman's upcoming film, The Life Before Her Eyes. For many, this movie should be a welcome respite from Uma Thurman's recent work (My Super Ex-Girlfriend), and a blast back to the more challenging and tasty fare that made her famous -- films like Dangerous Liaisons and Henry & June. Based on Laura Kasischke's novel, the film follows Thurman as the survivor of a high school shooting (something only vaguely hinted at in the trailer), whose life unravels 15 years later. Evan Rachel Wood (Across the Universe) plays her as a young woman, while Eva Amurri (Saved!) plays her best friend. I must say, it's so good to see Thurman in something meatier, and if this film is half as good as the trailer, this should be a must-see pick when the feature hits theaters this April.

Meanwhile, you can head through the jump to check out an official still from the film.*

*Edited to change picture

I was completely swept up in the emotion of Vadim Perelman's first film, House of Sand and Fog, which had its World Premiere as the closing night presentation of AFI Fest in 2003. I was a festival volunteer at the time and both the Cinerama Dome in Hollywood and an adjacent overflow theater were completely sold out. I was exhausted but desperately wanted to see at least a few minutes of the film, so I sneaked in near an exit to take a peek -- and ended up standing for the entire 126 minutes! I've never done that before or since; for me it remains a testament to the magnetic power of the story and the performances, especially Ben Kingsley and Jennifer Connelly.

Did anyone stand in the back for the entire 90-minute running time of Perelman's latest, In Bloom, when it screened in Toronto this week? I don't know, but distributor Magnolia Pictures was sufficiently enthralled to acquire North American rights to the film, according to Anne Thompson of Variety. She notes: "This is the first collaboration between 2929 [Productions], owned by Wagner/Cuban Companies, a vertically integrated group of entertainment properties co-owned by Todd Wagner and Mark Cuban, and its specialty arm."

Based on a novel by Laura Kasischke, In Bloom stars Uma Thurman as a woman suffering from survivor's guilt years after a Columbine-like shooting tragedy. Evan Rachel Wood plays the same character in high school. The subject matter sounds dark and depressing, but Thurman hasn't had a serious dramatic role for years, so I hope the results are impressive and memorable.

When Ryan spoke with Angelina Jolie last June, she had told us that her big-screen treatment of Ayn Rand's classic political novel Atlas Shrugged wasn't exactly ready for production. Last October, Lionsgate secured a writer for the film, but Jolie told us that "... we have not had all the pieces come together. There's not been a director that's right to come on, or all of those elements. So until it does, you know, I certainly don't want to be a part of something that's just put together to hit 'this date'". So here we are two months later, and Variety is now reporting that Vadim Perelman has been hired to direct the literary property, and also to perform a re-write on the script. Perelman will be updating the original draft written by Braveheart scribe Randall Wallace. If you're familiar with the 'heft' of Ayn Rand's novels, then you have an idea of how difficult it will be to trim down a 1,100-plus page novel into a two hour film.

Rumors of the project had been kicking around since last year, when in the height of all that "Brangelina" nonsense, there was talk that Brad Pitt and Angelina Jolie would be working together on the film (rumors that have long since been discredited). But now that a director is in place, it seems the project is closer to becoming a reality. Vadim Perelman will be in Toronto later this week for TIFF to present his latest, In Bloom, with Uma Thurman and Evan Rachel Wood. Since Angelina Jolie is expected to be accompanying Brad Pitt to the festival, maybe they can make it a working vacation. Jolie is still shooting the comic-book adaptation Wanted and is already scheduled to start work this fall on Clint Eastwood's The Changeling. According to Variety, Lionsgate is planning a start date for Atlas Shrugged in early 2008 -- so much for taking a year off, huh Ang?

Odds and ends from Tuesday:

• Evan Rachel Wood (Thirteen) has signed on to play a young Uma Thurman in Vadim Perelman's (aka 'the dude who allegedly threw his dining room chair at a writer') thriller In Bloom. Produced by 2929 Prods., pic focuses on a teenager (Wood) who witnesses a horrific high school shooting, only to discover just how deep those emotional scars really are when she finds her life is a complete mess 15 years later. Uma Thurman will play the older version of said woman.
• I don't know what's more horrifying: That there are plans to remake Working Girl or that Jessica Simpson is in talks to star in the role made famous by Melanie Griffith? Simpson's rep has confirmed the actress is interested, though it's just one of several scripts currently on her plate. With the success of films like The Devil Wears Prada, I can see why they would want to remake Working Girl. But, Jessica Simpson? Should she take the part, this would mark Simpson's first lead role in a major film.
• M. Night Shyamalan is so fed up over the fact people expect a certain type of film from him, the dude contemplated removing his name from Lady in the Water, as well as the big-screen adaptation of Life of Pi, though he is no longer associated with the latter. Says Shyamalan, "I'd love it if everyone could look at Lady In The Water as a lyrical parable, but there will be people that won't get it because they are coming at it with a certain lexicon of what to expect already in place." Actually, Mr. Shyamalan, all people expect out of you is a decent movie. If you could set your enormous ego aside and craft the kind of film we know you're capable of, you won't have to remove your name from the credits or complain to everyone and their mother. Yes, it's that simple.

When it was published in 1993, Lois Lowry's The Giver was greeted with both praise and controversy. The novel (aimed at kids of middle school age) is set in a future world "with no poverty, no crime, no sickness and no unemployment, and where every family is happy" and "all memory of human history has been erased." Lowry's main character is a 12-year-old boy who is chosen to become a "Receiver of Memory," the person who is aware of the community's history. Through the process of preparing for his role, the boy "discovers the disturbing truth about his utopian world and struggles against the weight of its hypocrisy." Though the book won the prestigious Newbery Award in 1994, its subject matter and the way it "deals with suicide and euthanasia" also made it the 14th "most challenged" book (just behind Catcher in the Rye) in school libraries during the 1990s. Sigh.

According to Variety, a movie version of the story is finally on the way, under the guidance of kid-friendly Walden Media and 20th Century Fox. Though an early draft of the screenplay was written by Todd Alcott, Walden have asked Vadim Perelman (who wrote and directed House of Sand and Fog) to do a rewrite; Perelman will then direct the film from his own script. It's going to be utterly fascinated to see how faithful the resulting film is to the book - will Walden risk offended the same audiences who flocked to their The Lion, the Witch and the Wardrobe earlier this year?