Month: December 2009 (Page 2 of 24)

Mid-holiday week movie news report (updated)

Somewhat to my surprise, given how slow Monday and Tuesday was, we have some movie news to report. Sadly, the first item is a bummer.

* Our very sincere condolences to the friends, family, and avid readers of writer and horror/gore maven Chas Balun, who died of cancer on December 18th. Probably mostly because of my phobia of the kind of movies he championed, Balun’s name wasn’t immediately familiar to me before this, but clearly the author and longtime contributor to Fangoria and Gorezone was a writer whose work meant a great deal to genre fans as well as a very sincere film geek/cinephile, and for that he has my respect. The Fangoria blog has a very good obituary.

* Sony has not been including a screener DVD for Duncan Jones’ highly regarded science fiction film, “Moon,” in its pre-Oscar promotional package. The result: “Twitter storm“!

Moon

* It’s now Sir Peter Jackson to you.  Considering the positive impact his LOTR tour de force must have had on the New Zealand economy, they might have considered making him king. Okay, New Zealand doesn’t have one. Also, I gather it’s more of a British Commonwealthy kind of a thing.

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Celluloid Heroes: Jason Zingale’s Best (and Worst) Films of 2009

For film critics, the end of the year means only one thing: “best of” lists. It’s probably one of my favorite parts about the job, so when Bullz-Eye decided to do a decade-end feature in place of our annual retrospective, I didn’t let that deter me from putting one together anyway. This year’s crop of films was just as uneven as in past years, but while you might have had to dig a little deeper to find some real gems, there’s no denying that 2009 still delivered some truly great movies. Here’s a look at my ten favorite films, along with a few honorable mentions and a list of the year’s worst.

THE BEST FILMS of 2009:

1. “Inglourious Basterds

Quentin Tarantino’s WWII revenge fantasy is every fan’s dream movie. Not only does it feature the director’s trademark dialogue (and plenty of it), but it also boasts a stellar ensemble cast, award-worthy performances from Christoph Waltz and Michael Fassbender, and some of the most thrilling sequences of the year. The German bar scene may feature QT at his nostalgic best, but the opening chapter is his magnum opus. That “Inglourious Basterds” can run for an additional 120 minutes and still be just as engaging is a testament to the film’s supreme quality.

2. “The Hurt Locker

This Iraq war thriller is one of the most suspenseful movies I’ve ever seen, piling on the tension so high that you’ll literally spend the entire film on the edge of your seat. Jeremy Renner is a marvel to watch as the bomb squad thrill junkie at the center of the story, but the real star is director Kathryn Bigelow, who takes an otherwise barebones script and transforms it into a series of memorable set pieces that continually upstage the one before it. But best of all, “The Hurt Locker” proves that female directors don’t have to make movies for women to be taken seriously in Hollywood.

3. “Up in the Air

There’s a pretty good chance that “Up in the Air” would have moved up a spot on my list had I found the time to see it a second time, but as it stands, the Jason Reitman-directed seriocomedy is still one of the year’s best movies. Reitman may not get a lot of credit as a director, but between his funny and timely adaptation of the Walter Kirn novel and keen use of his actors, it’s pretty clear that he has a promising future in the business. George Clooney continues to charm the hell out of moviegoers in a role tailor-made for the veteran actor, while Anna Kendrick steals the show yet again in a performance that deserves to be rewarded come awards time.

4. “Fantastic Mr. Fox

I’m surely in the minority on this one, but “Fantastic Mr. Fox” is the best animated movie of the year. I love Pixar just as much as the next person, but while “Up” proved to be yet another excellent addition to the studio’s still-flawless portfolio, director Wes Anderson’s adaptation of the popular Roald Dahl children’s story is even better. From the spot-on voice cast and witty script to the incredible sets and wonderful costume design, “Fantastic Mr. Fox” has so many layers that you have to watch it several times just to soak up all of the rich detail that went into making the movie.

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Early De Niro

I’m such a fan of Mel Brooks, that I’ve given short shrift to his fellow filmic Kennedy Center honoree, Robert De Niro. The show airs at 9:00 tonight (Eastern and Pacific), but in the meantime, here are a pair of key moments from 1973, when two performances in smaller films garnered De Niro a great deal of attention and some critic group awards, paving the way for his role in “The Godfather: Part II” and superstardom.

Bang the Drum Slowly” was a gentle, somewhat thin and corny, sports comedy-drama/tearjerker based on a book by Mark Harris. In it, Michael Moriarty portrays a seasoned major league baseball player who befriends a less successful teammate who is not the sharpest knife in the drawer, but who also has an incurable illness and whose only wish it to finish out the season. It’s far from a heavy-duty film and De Niro’s magnetic but ensemble-friendly performance is a million miles from the tortured or melodramatic tour de force you might expect. He also generates some extremely nice chemistry with Moriarity, a really outstanding actor in his own right who actually might have received nearly as much or more attention for this film than De Niro did. It also shows that De Niro has the ability to be one of the most hilariously lame dancers you’ll ever see at about 1:38.

Also, given that this is a Scorsese film about quasi-criminal characters in seventies Little Italy, the NSFW warning is somewhat in effect.

And in Martin Scorsese‘s third film and first masterpiece, “Mean Streets,” De Niro pretty much became the De Niro we know today, and I think this scene, which also features a young Harvey Keitel in the leading role as well as familiar-faces-to-be Richard Romanus and David Proval, makes that point about as clearly as possible.

Networks in trouble, examining cable format

Fox vs. Time Warner

– Image from the ad Fox has been airing during its programming.

As cable channels continue to attract more advertisers, the networks are losing money left and right. In response, they are seeking higher fees from cable providers. The most recent and publicized situation concerns Fox and Time Warner. Rather than pay Fox’s asking price, Time Warner is threatening to drop the network entirely.

Even worse, their audiences are dwindling and their affiliates are even demanding more money. These problems are causing many network executives to consider switching to a cable format. The change would be monumental.

That will play out in living rooms across the country. The changes could mean higher cable or satellite TV bills, as the networks and local stations squeeze more fees from pay-TV providers such as Comcast and DirecTV for the right to show broadcast TV channels in their lineups. The networks might even ditch free broadcast signals in the next few years. Instead, they could operate as cable channels — a move that could spell the end of free TV as Americans have known it since the 1940s.

The traditional broadcast model works like this: CBS, NBC, ABC and Fox distribute shows through a network of local stations. The networks own a few stations in big markets, but most are “affiliates,” owned by separate companies.

Traditionally the networks paid affiliates to broadcast their shows, though those fees have dwindled to near nothing as local stations have seen their audience shrink. What hasn’t changed is where the money mainly comes from: advertising.

Cable channels make most of their money by charging pay-TV providers a monthly fee per subscriber for their programing. On average, the pay-TV providers pay about 26 cents for each channel they carry, according to research firm SNL Kagan. A channel as highly rated as ESPN can get close to $4, while some, such as MTV2, go for just a few pennies.

Having two revenue streams — advertising and fees from pay-TV providers — has insulated cable channels from the recession. In contrast, over-the-air stations have been forced to cut staff, and at least two broadcast groups sought bankruptcy protection this year.

So rather than wait for the Internet to become a bigger source of income, the networks and local stations are mimicking what cable channels do: They’re charging pay-TV companies a monthly fee per subscriber to carry their programming.

The American Cable Association says its members — mainly small cable TV providers — have seen their costs for carrying local TV stations more than triple over the past three years. The group’s head, Matt Polka, says those fees have gone “straight to consumers’ pocketbooks” in the form of higher cable bills.

All this means for viewers is a higher cable bill. CBS, NBC, ABC, and FOX have always supplied their programming for free. The reason they’ve stayed afloat is because of ad sales, which are decreasing. If they do wind up severing ties with their affiliates and jumping to cable, consumers will have to pay for them like they would any other channel.

It’s a slow day; your reward: “The Making of the Avatar Bootleg”

It really is embarrassingly slow in the movie blogosphere this week. I mean, I could link up to some stuff being generated out in the movie news blogosphere, but it’s just pretty much marking time, especially now that the deadline for movies to be eligible for 2009 Oscar consideration is almost here. Cinephile bloggers are generally just posting holiday greetings. It’s time to watch movies more and write about them less.

In fact, according to Box Office Mojo, there is only one Wednesday release slipping in under the 2009 wire for Oscar consideration tomorrow — and it’s Michael Haneke’s “The White Ribbon.” Since the acclaimed dark drama from noted feel-bad director Haneke is Germany’s official entry for the Best Foreign Language Oscar anyhow, I’m not sure it even matters. (Some foreign film nominees are often not released in the U.S. until well after the Oscars.)

Also, it appears that the studios aren’t even bothering to release anything new on Friday/New Year’s Day.  A good weekend for catching up, which I certainly hope to be doing.

So, let’s make jokes poking fun at James Cameron and self-promoting DVD extras. Via Devin at CHUD.

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