Brian Koppelman and David Levien’ Solitary Man (repeats Friday, April 16, 10 p.m.) turned out to be a decent closing night film at the Dallas International Film Festival. The Michael Douglas-staring movie explores similar territory as 2009’s Up in the Air – a middle aged man seeking self-fulfillment through an emptying of oneself – though it is a far less expansive and preachy movie, instead more intimate and personal. Douglas plays Ben Kalmen, who is diagnosed with a heart condition in the opening scene. Rather than seeking treatment, he leaves his wife, bankrupts his once respected car dealership empire with a financial scam, and begins a new life as a philanderer, building up a science of manipulation and seduction that enables him to get into the bed of almost any woman he desires. Things come to a head after he travels to his college alma mater with his girlfriend’s daughter and ends up sleeping with her. She spills the secret to her mother who leverages her ex-husband’s powerful business connections to ruin Ben’s life. Broke and blocked-out of a job in auto sales, Ben returns to his college town to work in a luncheonette with old friend Jimmy (Danny DeVito) and becomes a romance mentor for student Cheston (Jesse Eisenberg).

Ben and Jimmy’s on-screen banter is cute and memorable, their chemistry owing to the two actors’ long friendship off-camera. Susan Sarandon is also enjoyable to watch as Ben’s ex-wife Nancy. And while I feel as if we have seen this character countless times on screen, Solitary Man treats the subject with a welcomed soft hand and lighthearted humor that gives the old middle-aged philanderer some new resonance. And Douglas has the creepy old horny guy thing nailed.

Michael Douglas and Jesse Eisenberg in Solitary Man

Yesterday was also the final Industry Speak Easy, a series of panel discussions the Dallas IFF hosted at the Palomar that dealt with film industry related topics. I led a conversation about film criticism at film festivals, though the conversation wandered expectedly into film criticism at large – its role and future prospects. The critics on the panel included Kim Voynar with Movie City News, Todd Gilchrist with Cinematical, and Jen Yamato with Fear.net.  One interesting point that came out during our discussion was the proliferation of media junkets, in which studios fly journalists into Los Angeles, put them up in fancy hotels, feed them, throw parties, and then offer interview access for the film’s stars. There is an implicit understanding, said the panel’s critics, that if you continual bash the films that sponsor these junkets in your reviews then you won’t be invited back. The concern is that film critics are being manipulated into become marketing arms of the major studios.

As for film festivals, most of the panelist agreed that coverage of regional film festivals, like Dallas IFF, was important to give buzz to films that otherwise wouldn’t have a chance. There is the hope that a good, under-the-radar film could create momentum by moving through a number of festivals and generating good audience response and press buzz. But journalists also play a role in reporting good films to communities around the country who will never see many independent films in their local cinemas, but are now able to have access to DVD releases through Netflix and the rest.

What to look for this weekend:

Last night’s closing night gala was a little big of a misnomer. This weekend the film festival moves to the Studio Movie Grill, 11170 N. Central Expressway, for a handful of special screenings as well as additional screenings of some of the festival’s hits, including the award winners.

Transparency – Friday, April 16, 10:30 p.m. – Lou Diamond Phillips plays a father who lost his marriage and job after a brutal attack on his daughter left him emotionally helpless. The legendary actor – who will always be staring in Young Guns for me – will be in attendance.

Cyrus – Sunday, April 18 at 7 p.m. – John C. Reilly stars in this comedic look at love and life in contemporary Los Angeles by Jay and Mark Duplass (Baghead).

Up / Memento / The Shawshank Redemption – Saturday’s programming brings three popular films with their filmmaker in attendance for post-screening conversations. Last year’s Pixar hit Up will screen at 1 p.m. Saturday, April 17 at the Studio Movie Grill, and director Pete Docter will be in attendance. One of the most iconic indie films of the last decade, Memento, will screen Saturday, April 17 at the Magnolia and cinematographer Wally Phlster, who went on from Memento to shoot Batman Begins, The Dark Knight, and The Italian Job will speak post screening. And at the Magnolia at 11 a.m. on Saturday, the festival will screening a contemporary classic, The Shawshank Redemption, and director Frank Darabont (The Green Mile, The Majestic) will be in attendance.

Award screenings:

Short Film Award Winner – Saturday, April 17 at 4 p.m. Magnolia 5

Narrative Film Award Winner – Saturday, April 17 at 7 p.m. Magnolia 5; Sunday, April 18 at 2:30 p.m. Studio Movie Grill 6

Documentary Film Award Winner – Saturday, April 17 at 10 p.m. Magnolia 5; Sunday, April 18 at 4 p.m. Magnolia 5

Texas Competition Award Winner – Saturday, April 17 at 7:30 p.m. Studio Movie Grill 6

Environmental Visions Award Winner – Saturday, April 17 at 10:30 p.m. Studio Movie Grill 6

Main image: Momento (2000)