Posted in: Movies
Posted in: Movies
Well, depending on how long this takes.
* The Oscar voting deadline passed today and the big story ’round the town was on the punishment meted out to producer Nicolas Chartier, whose over-aggressive e-screeds against “Avatar,” and in favor of his own, “The Hurt Locker.” He’s banished from the ceremony. Still, as Nikki Finke reports, don’t feel too bad for him, if you feel bad at all, and I’m not sure why you should.
Wouldn’t it be nice — and naive — to think that stuff like this actually affected no one’s vote, in any direction?
* I like Tim Burton‘s work and dislike Timur Bekmambetov’s films, but the two nevertheless insist on working together to produce “Abraham Lincoln Vampire Hunter” based on the book by the author of the also soon to be filmed “Pride and Prejudice with Zombies.” The reportedly erratic but extremely talented writer-director David O. Russell, who infamously got into a scuffle with George Clooney over the treatment of extras while making 1999′s “Three Kings,” is “circling,” Mike Fleming says.
* Hef on Bogie. And, when you think about the Playboy mansions, almost everybody really does come to Hef’s, or wants to, anyway.
* Martin Scorsese is so busy these days I get tired just reading about him. Oh, and that gangster film with De Niro is starting to take shape, alongside at least three documentaries about Fran Lebowitz, George Harrison, and the history of British cinema, including much, I’m sure, about his old friend and mentor/influence, Michael Powell — the greatest director even many cinephiles barely know. Oh, and elsewhere he discusses the possibility of making films “like ‘Precious‘” in 3-D. I see his point about how the technology could theoretically be used to enhance intimate stories. I guess. Maybe.
* I meant to mention this days ago, but this lawsuit over the fictional destruction of the “Christ the Redeemer” statue in “2012” is based on the fact that the statue is covered by copyright — something one usually doesn’t think about for iconic statuary. In any case, I really just wanted an excuse to quote Matthew Belloni‘s opening to the story:
With apologies to the Coen brothers, Columbia Pictures is learning the hard way not to f— with the Jesus….
Tags: 2012, 3-D, Abraham Lincoln Vampire Hunter, Academy Awards, Avatar, Christ the Redeemer, Coen Brothers, Fran Lebowitz, George Clooney, George Harrison, Headlines, James McAvoy, Jesus, Joseph Gordon-Leavitt, Martin Scorsese, Michael Powell, Nicolas Chartier, Oscars, Precious, Pride and Prejudice with Zombies, The Hurt Locker, Tim Burton, Timur Bekmanbetov
Once upon a time, the third Monday in February was designated as a day to celebrate George Washington’s birthday. These days, however, although it varies from state to state, it tends to be known less specifically as Presidents Day, which means that we can ostensibly celebrate everyone who’s ever been the President of the United States. Here at Premium Hollywood, we’d also like to extend that to those who’ve served as our nation’s commander-in-chief on television and the silver screen.
Now, granted, that’s a lot of people…more, in fact, than we could possibly give shout-outs to in a single piece. As such, we decided to pare it down to the same number of individuals as have held the highest office in our land since its inception. Forty-four folks is still nothing to sneeze at, but we’re betting that we’ll still end up having left out someone’s favorite son (or daughter). To paraphrase one of our real presidents, you can please some of the people all of the time, and all of the people some of the time, but you can’t please all of the people all of the time. With that said, however, we still think we did a pretty solid job of picking the best candidates for the piece.
1. President Dwayne Elizondo Mountain Dew Herbert Camacho (Terry Crews), “Idiocracy”: Why are we leading off with President Camacho? Because, really, when you’ve got a fake President on your list who’s also a porn superstar and a five-time ultimate smackdown wrestling champion, why in God’s name would you wait any longer than necessary to trumpet his inclusion? Clearly, this man is the fake President to end all fake Presidents, and he’s #1 with a bullet. It’s all going to be downhill from here.
2. President Andrew Shepherd (Michael Douglas), “The American President”: President Shepherd is a widower who pursues a relationship with an attractive lobbyist — Sydney Ellen Wade, played by Annette Bening — while at the same time attempting to win passage of a crime control bill. Although the film was mostly ignored by the Oscars, it racked up several Golden Globe nominations and has since found its way into the #75 spot on the American Film Institute’s list of America’s Greatest Love Stories. Plus, its screenwriter managed to find a good use for the excess material that he didn’t have room to fit into the script…but we’ll get to that in our next entry.
3. President Josiah Bartlet (Martin Sheen), “The West Wing”: Yes, if you hadn’t figured it out already, “The American President” was written by Aaron Sorkin, which is why you may notice a resemblance between the mannerisms of Presidents Shepherd and Bartlet. Ironically, though, Sorkin had originally envisioned the series as revolving so much around the White House senior staff that viewers would rarely, if ever, see the president. Instead, what the nation got was an idealized leader, one who – in A Novel Approach to Politics, by Douglas A. Van Belle and Kenneth M. Mash – is referred to as the “most popular Democratic president in recent memory.” The book was written pre-Obama, mind you, but we’re pretty sure the title still stands.
4. President William Harrison Mitchell (Kevin Kline), “Dave”: Given the vaguely “The Prince and the Pauper”-esque premise of the film, which involes a guy who makes a few bucks on the side as a Presidential impersonator being asked to play the part for real when the actual President suffers an incapacitating stroke, there was every reason to believe that “Dave” would’ve been a trifle at best, but between Kline’s imminent likability and a fantastic supporting cast (Sigourney Weaver as the First Lady, Ben Kingsley as the Vice President, Frank Langella as Chief of Staff, and Charles Grodin as Dave’s accountant buddy, Murray), it often comes close to – even though it doesn’t quite reach – the heights of “The American President.”
5 – 8. President Thomas J. Whitmore (Bill Pullman), “Independence Day” / President Blake (Perry King) and President Becker (Kenneth Welsh), “The Day After Tomorrow” / President Thomas Wilson (Danny Glover), “2012″: As soon as you see the credit “directed by Roland Emmerich” on a disaster flick, you just know things are going to reach a point where the President of the United States is going to be brought into the discussion about whatever imminent danger may be about to thrust itself onto our planet.
There’s also a very good possibility that the ol’ rite of succession may come into play during the course of the film, such as it did in “The Day After Tomorrow,” when we lost President Blake after the blades of his helicopter froze. Say hello, President Becker! The same thing happened in “2012,” too, but we were so in awe of President Wilson’s selfless sacrifice – he stayed behind to help survivors in need, only to meet his death when the tidal wave struck the White House – that we’ve made an executive decision not to include Wilson’s successor, President Anheuser (Oliver Platt) in the list. Why? Because he’s a dick.
The definitive Emmerich-flick president, of course, is President Whitmore. During the course of “Independence Day,” he sees the White House blown up, loses his wife, fights off a psychic attack from an alien, and flies a goddamned jet fighter into battle to help save the day. Plus, he gives the most stirring speech this side of “Patton.” Hell, I’d vote for him.
Tags: 2012, 24, Air Force One, American Dreamz, Americathon, Armageddon, Being There, Commander in Chief, Dave, Deep Impact, Dr. Strangelove, Escape from New York, Fail Safe, Gabriel Over the White House, Hail to the Chief, Head of State, Headlines, Idiocracy, Independence Day, Love Actually, Man of the Year, Mars Attacks!, Mr. President, My Fellow Americans, Primary Colors, Prison Break, Scary Movie 3, Scary Movie 4, Seven Days in May, Super President, Superman II, The American President, The Brady Bunch in the White House, The Contender, The Day After Tomorrow, the Man, The Simpsons Movie, The West Wing, Whoops Apocalypse, Wild in the Streets
Bullz-Eye’s David Medsker chatted with “2012” director Roland Emmerich yesterday about the film’s impending release on DVD, but while the final product won’t hit the site ’til close to the DVD’s street date (March 2), Emmerich offered up two pieces of information during the course of the interview that we figured were worth reporting sooner than later.
During the course of the conversation, Medsker brought up our 2009 interview with Bill Pullman and mentioned the actor’s surprise that a sequel to “Independence Day” never got off the ground.
“It’s just one of those things,” said Emmerich. “Everybody wants to do it, but it’s really difficult. People had to wait for ‘Indy 4′ for a decade, and the reason is because of the people involved. If you want to assemble the same people, then you have a big problem. But everyone wants to do it, and it will happen one day, I’m pretty sure.”
If you’re not exactly overwhelmed by his confidence, perhaps this will help: after many years of uncertainty about what the premise of the sequel would be, it can at least be said that Emmerich and his “ID4″ co-conspirator, Dean Devlin, do actually have an idea in place.
“Dean and I always said that we’d only do it when we had a really good story that excites us both, and we have the story written,” revealed Emmerich. “We’ve had it for a year and a half, two years. So we’ve been ready! Maybe it takes another two years [to get everyone together]. We’ll see.”
For better or worse, it appears that the rumored “2012″ TV series won’t be getting in the way of “Independence Day 2.” When Medsker asked about the status of the series, Emmerich confirmed that it’s as dead as Danny Glover’s character. (RIP, President Wilson.)
“It’s not happening,” he said. “When the TV [network] realized what we wanted to do, they thought this was not possible for TV. It’s just too big. And I didn’t want to do it in a lesser form, so it went away.”
Thursday night, I tried to imply that only the apocalypse itself could prevent “Avatar” from winning the weekend. And, while 2012 is still a few years away, Nikki Finke reports that a big East coast snow storm is being blamed for the film earning a below-expectations estimate of $73 million for Fox — $12 million less than the the $85 million figure that was being bandied about previously. Regardless, $73 million ain’t chicken feed, though with a ginormous budget ($300 million??) comes ginormous responsibility to rake in the megabucks.
If I were James Cameron, I wouldn’t worry too much, however. Finke is trumpeting the numbers for the more expensive 3-D and 3-D Imax screens and the worldwide take was a record setter, if you leave out all “franchise” films. In other word $159.2 million worldwide is the worldwide record for a film with no previously known characters and not a sequel to some prior hit.
More important, as I suggested on Thursday, the science-fiction spectacular’s strong reviews will likely be reflected in word of mouth among cinema civilians. Finke says that the audience approval surveys from Cinemascore gave the film an “A” across every “quadrant” — i.e., people of all age and gender groups seems to like it. With the Christmas vacation period just getting started and a few Oscar nominations almost certain, I think it’s safe to say that “Avatar” is in better than good shape, especially if a movie like “2012,” which lots of people saw but which I gather very few loved, could still be profitable with a production budget of $200 million. I’d like to think that, sometimes, movies that people actually like do better than movies they merely tolerate. Humor me.
As for the rest of the weekend box office, there wasn’t a whole lot of excitement. Taking a look at the ever-handy Box Office Mojo chart once again, the #2 and the #3 spot went to Disney’s hand-drawn “The Princess and the Frog,” which earned an estimated $12,224,000, and this year’s unrivaled sleeper hit from Warner Brothers, “The Blind Side.” The feel-good sports drama made an estimate $10,030,000 this weekend for a rough total so far of $164,734,000. Considering it’s $29 million budget and the possibility of a box office life-extending Best Actress nomination for Sandra Bullock, I’m guessing this has to wind up as one the year’s most profitable films, perhaps rivaled only by the sub-micro budgeted phenomenon, “Paranormal Activity,” and assorted mega-hits I don’t feel like mentioning/researching.
While Oscar-hopeful “Nine” was the week’s winner in terms of per screen average with $61,750 in four theaters (“Avatar” average of $21,147 was the second placer in per-screen), the week’s other major new release performed in predictably uninspiring fashion. Sony’s critically drubbed star-driven attempt at romantic comedy, “Did You Hear About the Morgans?,” dipped below its extremely modest expectations to earn an estimated $7 million, about $1 million less than predicted — the snow again, I’m sure. Nevertheless, it appears that if people did hear the Morgans, they mostly decided to ignore them.
Lots going on…
New Line has picked up a pitch from Darren Lemke, the writer behind the studio’s Bryan Singer project “Jack the Giant Killer,” that reimagines the classic tale of “The Nutcracker and the Mouse King” as an action-adventure movie.
I’m thinking Steven Seagall for the lead, with Jet Li as Kato, though I’m not sure how either of them are at dancing to the music of Tchaikovsky. Okay, actually, this version won’t be a ballet (obviously) and they’re going for more of a “Chronicles of Narnia” vibe.
* Brad Pitt will be producing, but not playing the lead, in an action-oriented flick about the young Vlad Dracul (his buddies call him “the Impaler”). I’d prefer if they would be honest and call this “Dracula Begins,” but the actual title is “Vlad.” The studio will be the “Twilight” driven Summit. How much you wanna bet this vampire-to-be has a tortured love-life?
* Hand drawn animation appears to be coming back to Disney in a big way. Yay. Film-maker Brendon Connolly has some interesting hints.
* And one more item from THR/Heat Vision that I can’t really ignore. Cowriter-producer Peter Jackson has announced that auditions for “The Hobbit” have begun and the only role that’s precast is Ian McKellan as Gandalf. So, actors, if you’ve got a snub nose, a pasty complexion, are never chosen first for basketball, and have hairy feet, I suggest you get into gear. They are denying rumors that James McAvoy could be in the running for Bilbo, though he does have an overall Baggins thing going on, I think. Another actor who screams “hobbit!” to me is writer Peter Morgan’s favorite star, Michael Sheen of “Frost/Nixon,” “The Queen,” and “The Damned United.” Of course, whoever it is, I guess it will have to believable that he’ll look like Ian Holm when he gets on in years.
Tags: 2012, Amy Adams, Bilbo Baggins, Brad Pitt, Brendon Connolly, Bryan Singer, Casino Royale, Chronicles of Narnia, Chuck Braverman, Citizen Kane, Darren Lemke, Disney, Dollhouse, Dracula, Edward Norton, Enver Gjokaj, Frost/Nixon, hand-drawn animation, Headlines, hobbits, Jack the Giant Killer, James McAvoy, Jet Li, John Hillcoat, Joss Whedon, Michael Sheen, Milla Jovovich, Movie Clips, Nick Cave, Orson Welles, Peter Jackson, Peter Morgan, Robert De Niro, Roland Emmerich, Ryan Goslin, Shia LaBouef, Steven Seagall, Tchaikovsky, The Blind Side, The Damned United, The Hobbit, The Nutcracker, The Nutcracker and the Mouse King, The Princess and the Frog, The Queen, The Road, Vlad, Vlad Dracul
I’m sure Roland Emmerich who, according to Nikki Finke, is receiving 25 percent of the grosses for his $200 million budgeted “2012,” is also feeling pretty good. Of course, now he has to figure out if he about to earn enough money for his own end-of-world-blocking fortress of solitude in case all those prophesies he used to come up with his critically dismissed thriller come true.
Emmerich’s latest multi-star epic earned an estimated $65 million, at the very highest end of the most optimistic projections put forth by Jolly Carl DiOrio that I mentioned on Thursday night. If you throw in the worldwide figures going back to the film’s international release last Wednesday, then you get to a figure of around $225 million so far. As per Variety‘s Pamela McClintock, assuming there are no surprises, this puts Sony’s PG-13 epic in the #9 spot on the top 10 for international opening weekends.
At #2 spot this weekend is the Disney/Jim Carrey/Robert Zemeckis CGI-3D revisit of “A Christmas Carol,” which, despite character designs that embody the unpleasant after effects of a visit to the uncanny valley, is holding up extremely well after what was deemed a disappointing opening last weekend. Charles Dickens’ unkillable holiday perennial only dropped about 25-26% or so, about half of what many films do, and collected a very respectable estimated $22.3 million. After it’s a truly steep fiscal drop all the way down to an estimated $6.2 million for “The Men Who Stare at Goats.” It seems to me there’s nothing more problematic at the box office than a prestige picture with a critical/online buzz response that amounts to “meh” — or in this case “meeeahhhh.” That’s an apparent 52% “many films” drop from last week.
Indeed, this week brings us the spectacle of a goat herd of A-listers being upstaged by an abused, severely overweight teen as the critically lauded by overtitled “Precious: Based on the Novel ‘Push’ by Sapphire” shot up to #4 spot despite being in only 174 theaters. That means it earned it roughly $6.1 million on 2,279 less screens that “Goats” needed to earn an additional $0.1 million.
However, as good as the $35,000 per screen average for “Precious” was, taking a look at the Box Office Mojo weekend chart, the highest per screen went to Fox’s “Fantastic Mr. Fox.” The old-school puppet animation comedy earned a very nice estimated average of $65,000 on four screens and is, weeks before its wide release, already going a long way toward burnishing the reputation of writer-director Wes Anderson who, as far as this writer is concerned, has never shot an uninteresting foot of film.
Still, it wasn’t all hearts and flowers for the indies this weekend. Despite some outstanding coverage by Mr. Will Harris at our fabulous sister site, “Pirate Radio” failed to receive the Bullz-Eye bump. The ensemble comedy, inspired by illegal British broadcasting outfits of the sixties and seventies that competed with the BBC by blasting out the latest in rowdy beat music, earned a very non-rocking estimated $2.9 million, slipping just below Richard Kelly’s $3.2 million 10th place thriller, “The Box.” On the other hand, that does mean that “Pirate Radio” went to 11.
Tags: 2012, 30 Rock, A Christmas Carol, Charles Dickens, Disney's A Christmas Carol, Fantastic Mr. Fox, fortress of solitude, Headlines, Jim Carrey, Pirate Radio, Precious, Precious: Based on the Novel Push by Sapphire, Richard Kelly, Robert Zemeckis, Roland Emmerich, The Box, The Men Who Stare at Goats, uncanny valley
Another “2012“-inspired clip focusing on the past examples of the gleeful destruction of my birthplace and homeland as practiced by some of L.A.’s wealthiest creatives. And, yes, I realize the new film also destroys most (all?) of the rest of the world, and Roland Emmerich hasn’t exactly been kind to New York, D.C. and elsewhere in past efforts, but yet I still feel oddly singled out.
Anyhow, there really were serious problems in building L.A.’s still majestically insufficient, extraordinarily expensive subway system, but there was a lot more water involved than fire in the first seriously fouled up attempt at the important goal of creating some decent L.A. public transit in the City of Angels. Still, who wants to see a movie about busted water mains and overflowing sewers. So, instead, we got “Volcano” – from the director of “L.A. Story.” Seriously.
Lest we think this whole “let’s have big fun destroying Los Angeles” idea in “2012” is anything new.
Yes, with just one really big new release this week, it’s looking like Sony and Roland Emmerich’s eschatological extravaganza, “2012,” will most definitely take the box office crown this weekend. Prognosticators are, however, offering a pretty broad range of possible results. Pamela McClintock of Variety says that “observers” are guessing the mega-disaster tale will make “north” of $40 million “or even substantially more” on its opening. The ever jolly Carl DiOrio of The Hollywood Reporter gets more specific on the “substantially more” and suggests that those mysterious tracking surveys mean that $55-65 million is “doable” for the first would-be blockbuster I’ve ever heard of to be based on the Mayan calendar. Some of this speculation, of course, is based on the large success ($186.7 million domestically) of Emmerich’s other mass destruction based sci-fi flick from 2004, “The Day After Tomorrow.”
Still, there are some issues, including an outsize running time of 2 hours and 38 minutes, forty minutes longer than “Day.” Predictably, most critics are making fun of the film. Let’s face it, Emmerich isn’t exactly known for thoughtful cinema. Still, while the film only scores a meager 32% “fresh” on Rotten Tomatoes, it does seem to generate a certain number of backhanded compliments from those who think it edges into guilty pleasure territory, including from our own David Medsker and a darn funny, three-star review by the Chicago Tribune‘s Michael Phillips. In any event, that running time could be an issue in terms of number of shows per day and also simply by annoying impatient filmgoers. However, the teen boys who go to this stuff never seem to mind a long running time if they get their share of thud and blunder and, by all accounts, “2012″ provides oodles of some of the best wanton destruction in some time.
Being released in some 882 theaters, as compared to 3,404 for “2012,” is Focus Features’ “Pirate Radio.” It’s a shortened version of a fact-inspired comedy that was called “The Boat That Rocked” in the UK. Writer-director Richard Curtis of “Love, Actually,” “Four Weddings and a Funeral,” and cult TV favorite “Blackadder,” is once again splitting critics with this ode to the glory days of sixties pop. However, a running theme in the reviews appears to be that, for a comedy about a bunch of radio rebels forcing their way illegally onto English airwaves during the heyday of sex, drugs, and rock and roll, it’s a bit polite. And so, the RT rating is a mehish 56% as of this writing.
I should add, though, that there’s something about Richard Curtis — I’d guess it’s gratuitous niceness — that tends to make some critics underrate his films. “Love, Actually” was a terrific piece of work in my own opinion, but it only earned an RT rating of 63%, though it also earned roughly a million bucks for each percentage point. Will Harris, who got to travel to our nation’s mother country to participate in the press junket for “Pirate Radio” is of a like mind, but feels this effort is worthy but a bit less wonderful its predecessor. (Will’s interviews from his trip are highly recommended. I suggest you start with Richard Curtis.)
And that’s it for the major/semi-major releases, but there’s some very interesting action amongst the limited flicks. First, as per Box Office Mojo, the critically lauded, sure-to-be Oscar nominated “Precious: Based on the Novel Push by Sapphire,” which did amazing limited release business last weekend for Lions Gate with a per-screen average of $100,000 in 18 theaters, is expanding to 174 screens this weekend. Apparition/Sony’s critically derided and sure to be utterly un-awarded “Boondock Saints II: All Saints Day” is bumping up to 244 screens after showing some cult strength.
Finally, in an interesting strategy for a fairly high profile animated family film with an all-star voice cast, “Fantastic Mr. Fox” — from Fox, naturally — is opening in four theaters this weekend. The thinking here is, I’m guessing, that this isn’t just any animated family film based on a popular children’s book by Roald Dahl, but one directed by arthouse fave Wes Anderson. Though there may, or may not, have been significant issues during its making, it wound up with great reviews. In fact, the painstakingly non-CGI puppet animation is collecting the most consistently good notices of Anderson’s entire remarkable career, as reckoned by Rotten Tomatoes, beating even his instant classic “Rushmore” by four points. So, giving “Mr. Fox” a little time to percolate and spread some good word of mouth by opening it more slowly makes a lot of sense. It’s a strategy that should be used a lot more often, with good movies that is.
Tags: 2012, Apparition, Blackadder, Boondock Saints II, Boondock Saints II: All Saints Day, Fantastic Mr. Fox, Focus Features, Fox, Headlines, Love Actually, Pirate Radio, Precious, Precious: Based on the Novel Push by Sapphire, Richard Curtis, Roald Dahl, Roland Emmerich, Rushmore, Sony, The Boat That Rocked, The Day After Tomorrow, Wes Anderson