DARK HORSE – DVD & Blu-Ray Release Date November 13th, 2012

Dark Horse official DVD + Blu-Ray release date is November 13th, 2012!

You may pre-order your DVD + Blu-Ray copy now on Amazon.com or download options are already available on iTunes and Netflix.

Dark Horse: Starring Selma Blair, Jordan Gelber, Christopher Walken, Mia Farrow, Donna Murphy, and Justin Bartha. Written and Directed by Todd Solondz.

WATCH TRAILER HERE!

‘Dark Horse’ Starring Selma Blair – Now Available On Amazon, iTunes and OnDemand

Great news Selma Blair fans!

Dark Horse is now available for purchase and rental on both iTunes and Amazon.com. It’s also available for rental on OnDemand (check with your local cable or satellite provider for details).

This is excellent news for the Todd Solondz and Selma Blair fans that weren’t able to catch the film during its world-wide film festival and select theater tour this past year!

‘Dark Horse’ Darling Selma Blair Attends Los Angeles Screening + Q&A

Selma Blair attended the Los Angeles Landmark Nuart Theatre screening of ‘Dark Horse’ last night along with co-star, Justin Bartha, and writer/director Todd Solondz. Lucky filmgoers were treated to a ‘Dark Horse’ Q&A session after the showing.

Selma’s Style: Marc Jacobs pine and absinthe green abstract paisley print silk shift dress. Marc Jacobs triple strap forest green suede Mary Jane heels. Chanel J12 wrist watch.

Selma Blair Vanity Fair Hollywood Blog Interview

Vainty Fair interview with Dark Horse’s Selma Blair
By Krista Smith

Since her captivating debut as the naïve ingénue in Cruel Intentions,Selma Blair has built a diverse career in Hollywood, appearing everywhere from Portlandia to Hellboy.  Her latest project is Dark Horse, a Todd Solondz film in which she plays a disillusioned women named Miranda. V.F.’s senior West Coast editor, Krista Smith, caught up with Blair about working with Solondz, her envy of glamorous moms like Jessica Alba, and what she has to learn from Charlie Sheen on the set of Anger Management.. Highlights from their chat:

Krista Smith: In Dark Horse you play Miranda, an unsuccessful lady who catches the eye of the equally unsuccessful Abe (Jordan Gelber). They both still live with their parents. Are they the same sad person?

Selma Blair: He likes living at home. That’s the difference—he loves it, and she views her life as a total failure. His job is a fake, horrible, stupid, nepotism job. I think it’s equally depressing and real. I’ve never played such an honest character as her. People think it’s a joke or something. Why doesn’t she just give up on hope and love and just get married and have kids?

At one point when I was watching the film, I thought: What is it about Selma Blair that catches the attention of Guillermo del Toro, Todd Solondz, and, most recently with Anger Management, Charlie Sheen?

You’d think Charlie Sheen and Todd Solondz would be worlds apart and have very different muses. I’m so happy that, at least for the moment, I get to have my hand on two different sides of a tent. I think that’s probably why I’m such a failure in this business. Because there’s no identity. It’s just like,“Oh, you’re that same girl”—the audiences would never meet, so each audience thinks that I’m off. One audience probably thinks I’m off in an institution for the rest of the year when I’m not making a Solondz film, and then the other audience is probably like, “Wow, the poor girl never works, but Charlie gave her a job.” Because the audiences would never go to the same thing.

Krista Smith: Which person do you think the Hellboy audiences identify with?

Selma Blair: Probably Charlie Sheen, because he’s kind of a superhero. He would get that Comic-Con, real addict type of fan. Todd Solondz gets a more cerebral, collegiate audience. You’d hope he’d get a wider audience because I love his films, but it seems like that’s an elite bunch. Guillermo’s is a different, comic-book fan. Charlie’s like a superhero. I’m not saying that just to kiss Charlie’s ass because I’d like to have a job with him again, but it’s true. He proves it with whatever he does. Just a huge performance-art comic book.

Krista Smith: Back to Todd Solondz—is your character, Miranda, the same character you played in Storytelling?

Selma Blair: I didn’t know it was until Todd gave me the job. But, yes it is. If you look at the end credits, it says Miranda, formerly known as Vi. If you know Todd’s work, Vi was the character I played in Storytelling, the college student who says, “Fuck me, n—–. Fuck me harder.” I don’t get to say that enough anymore.

Krista Smith: That was a profound line.

Selma Blair: I really haven’t said it in days. [Laughs.] No, I haven’t said it in years. It’s the same character, and I don’t know if it matters, other than it shows how much Todd actually does care about his characters. He let one live on and gave her this somewhat happy ending. It just helped me go, “Oh, well, I’ve already played her. I don’t have to do shit.” But I did. I loved playing her after she was so idealistic in college. She was kind of condescending and really had so much ambition. It made it a lot deeper for me to see her now having failed.

Krista Smith: You were so thin in that movie.

Selma Blair: Yeah, I was probably 20 pounds lighter. I hadn’t eaten any sugar in Storytelling. I was really happy with that.

Krista Smith: But with your baby, don’t you eat sugar just to keep going?

Selma Blair: That’s the problem, but then you pass out and then you feel sick. I mean that’s what I did yesterday. I got him a birthday cake, albeit a really puny, puny one because I didn’t want him to eat sugar. I was really passive aggressive. I was like,“You can’t have cake, but here’s a cake.” Of course I ate it. I wasn’t eating sugar at all on Dark Horse. Then I got pregnant, so if you’re looking to get pregnant, apparently don’t eat sugar. I haven’t eaten it in two and a half years. I only recently, in the past month, started eating sugar again. It feels horrible, and it tastes wonderful.

Krista Smith: Are you excited to continue Anger Management with Charlie Sheen?

Selma Blair: I have no idea if I’m going back to work in the fall or not. We shot 10—two episodes a week—which is unheard of, because normally you shoot an episode in 7 or 10 days. Basically most people shoot a pilot and see if they’re picked up. We shot like a five-hour pilot. There was no time to correct anything or see what you’re doing or learn your lines, you know—it was just: Get it and go. Not sleeping and going on a set and learning your lines right there. I really hope I get a chance to reevaluate my character and play it again in the fall. I don’t know if it’s picked up. Charlie has a huge fan base, and I think he’s great. I hope I get a chance to come back, because he has a lot to teach me about charisma. I’m hoping it’s teachable. People say it ain’t. You either got it or you don’t. I apparently have never had it, but I’m knocking on Charlie’s door because I need it.

Krista Smith: Well, your baby Arthur’s got a ton of charisma.

Selma Blair: I know, and I’m going to try to suck it from him, too. I’m riding on the coattails of the two most wonderful men in my life right now—Charlie and that baby. And I’m hoping both of them get me the places I need to go.

Krista Smith: What do you think of all the tabloid magazines that showcase celebrity moms like yourself?

Selma Blair: I don’t understand it. I love pictures of babies now that I have one, but it’s weird and it’s so creepy because they’re taking pictures of your baby. A baby that could be kidnapped, God forbid. I don’t look good when I go out with my baby because all your effort goes to “Do I have the stroller? Do I have the food? Do I have breast milk? Do I have formula? Do I have a change of clothes?” I don’t know how Jessica Alba does it. It’s so much work, or she has a nanny all the time. And in that case, fuck her. I mean of course I know she has a nanny all the time, but still—I can have a nanny as much as I want to too, and I still don’t manage to really get it together.

Source: Vanity Fair The Hollywood Blog

Adulthood Calling, to Faraway Minds and Lost Ambition in DARK HORSE

For your reading pleasure I’ve posted this wonderful Dark Horse movie review written by A.O. SCOTT from The New York Times.

I cannot wait to watch this film.

Abe (Jordan Gelber) is a tubby underachiever in his 30s who lives with his parents, sleeping in a bedroom full of action figures, movie posters and other emblems of interminable childhood. In other words he is, in the context of recent American cinema, not unusual. But “Dark Horse” is a Todd Solondz movie, which means, among other things, that Abe is neither a sweet Apatovian schlub nor a stoner saint like the title character in Mark and Jay Duplass’s “Jeff, Who Lives at Home.” He is, instead, an emblem of loneliness and failure, whose cocoon of self-delusion and misplaced vanity is carefully dismantled by the sharp, remorseless tweezers of Mr. Solondz’s sensibility.

Abe is not pleasant company. At home with his parents — a stiff, humorless dad played by Christopher Walken and a simpering, smothering mom played by Mia Farrow — he whines and rages his way through daily storms of entitled petulance. Abe works for his father, a real estate developer, or at least spends time at the office, seething and daydreaming behind his computer screen while Marie, the office manager (Donna Murphy), covers for him and his eager cousin curries favor with the boss. The bright yellow Hummer Abe drives is an obvious symbol of his wounded, bloated ego. His courtship of Miranda (Selma Blair), a mopey young woman who also lives at home in a state of arrested, medicated quasi-adolescence, is frequently excruciating to watch because it exposes just how misplaced and bizarre his self-confidence is. What a jerk, you can’t help but conclude. What a loser. Why doesn’t he know it?

But Mr. Solondz brilliantly — triumphantly — turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion. Again and again — in the ’90s indie touchstones “Welcome to the Dollhouse” and “Happiness,” and more recently in “Life During Wartime” — this director has blurred the boundary between misanthropy and humanism. He surveys the human geography of his native suburbia with what looks like unbridled disgust but is actually an unquenchable and steadfast love. “Dark Horse” may be his warmest, most generous movie, but it also casts a beam of empathy backward, illuminating the baffled, benighted, icky souls who have populated Mr. Solondz’s universe from the start.

Can anyone love Abe? Is he worthy — or capable — of love? These are serious, life-and-death questions, and Mr. Solondz refuses to make them easy. He favors lurid, borderline-ugly colors and finds a tone that somehow erases the distinction between deadpan comedy and overwrought melodrama. His eye for social detail is merciless and exact. Miranda and Abe’s families are, by any objective demographic measure, nearly identical, but the tiny differences that separate them, evident in the architecture and décor of their respective houses, imply an unbridgeable chasm of taste. Those differences are further explored in an encounter between Abe and Mahmoud (Aasif Mandvi), Miranda’s supercilious, ostentatiously cosmopolitan ex-boyfriend. This guy thinks he’s so much better than Abe, and the joke is that the feeling is entirely mutual. It has to be, since in this world you are nobody unless you are better than somebody else. And if you aren’t, then you better be able to find someone to blame.

That may be one thing Abe is genuinely good at. His father’s toughness, his mother’s softness, the apparently effortless success of his younger brother, Richard (Justin Bartha), a doctor — all of these are elements in what Abe sees as a global conspiracy to keep him down. The title, “Dark Horse,” refers to his idea of himself as one of life’s secret winners, preparing a glorious come-from-behind victory that will be his revenge on all the people who have dared to underestimate him.

Mr. Solondz puts Abe’s fantasies of glory on screen, increasing their frequency until the end of the movie becomes a Buñuelian cascade of dreams within dreams. (The film culminates in one of the most eloquent, heartbreaking shots I have seen in a very long time.) But the film’s purpose is not to revel in Abe’s disillusionment or ridicule his longings. It aims, instead, to cast a skeptical eye on the brutality and complacency of a society that ruthlessly sorts its members into winners and losers.

I’m going to go out on a limb a bit here. Looking at Abe, I saw the shadow of Willy Loman. This may just be because Broadway’s latest Willy was Philip Seymour Hoffman, who was so indelibly creepy in “Happiness.” “Dark Horse” and “Death of a Salesman” are both stories of a family (implicitly Jewish) with a mother, father and two boys in the thrall of — and threatened by — the American dream. The theme of both stories is the ideology of success and its casualties; the ways the expectation of material comfort becomes a spiritual quest and a psychological hazard. Mr. Solondz’s film is, on the surface, a comedy, preferring quick, barbed exchanges to thundering speeches. But like “Salesman,” its departures from realism have the effect of enlarging the narrow, unremarkable lives that are its focus, and by extension the audience’s sense of what those lives might mean. Attention — tentative, half-repulsed, hopelessly ambivalent — must be paid.

Dark Horse is now playing in select theaters.

Written and directed by Todd Solondz; director of photography, Andrij Parekh; edited by Kevin Messman; production design by Alex DiGerlando; costumes by Kurt and Bart; produced by Ted Hope and Derrick Tseng; released by Brainstorm Media and Double Hope Films.

STARRING: Justin Bartha (Richard), Selma Blair (Miranda/Vi), Mia Farrow (Phyllis), Jordan Gelber (Abe), Donna Murphy (Marie), Christopher Walken (Jackie), Zachary Booth (Justin) and Aasif Mandvi (Mahmoud).

Running time: 1 hour 25 minutes. This film is not rated.