Just yesterday, I had the pleasure of being dragged to a showing of the relatively new theatrical release, “Warm Bodies.”
And by dragged, I mean not dragged at all, entirely willing, and despondently hopeful.
However, it was totally worth it. The movie, although seemingly bizarre and easily misjudged as campy and corny, is actually quite clever and original. Except if you’ve ever seen the lost 80s movie, “My Boyfriend’s Back,” in which case Warm Bodies just seems like a victorious copy-cat of a lackluster romantic comedy about a corpse. A romantic zomedy, if you will.
Because I don’t like writing reviews, I have compiled a list of 10 reasons to go see this movie right now. However, if you live in the New England area you should probably wait till Sunday, as there is snow and stuff.
1) John Malkovich is in it
2) Every joke that you want them to make, but you are afraid they won’t because then they’d be poking fun at themselves, they do.
3) My friend *Debby is convinced there will be a zombie apocalypse. If such is the case, this movie will help us prepare, as well as advise us on its defeat.
4) Analiegh Tipton is both adorable and hilarious.
5) You know you’ve always wanted to see a pretty girl and a zombie make out.
6) What do zombies think about? We no longer have to wonder.
7) Here we learn what happens when zombies progress from plain zombie, to MEGA ZOMBIE.
8) John Malkovich is in it.
9) How many zombies does it take to screw in a light bulb? No just kidding. That’s not a thing. However, you do find out why zombies eat people and what their favorite part of eating the brain is. Useful information.
10) It is not “Twilight” and Kristen Stewart is not in it.
Guess which movie I’m rooting for? As usual, however, I won’t get what I want. It’s hard to imagine that the audience for “Jackass 3D” will accept seeing the gross-out-a-thon in any other format and for that reason alone the docu-comedy is expected to outgross the very strong competition from the comic book adaptation, “RED” (as in “Retired, Extremely Dangerous”) which stars Bruce Willis, Morgan Freeman, John Malkovich, Mary Louise-Parker, Karl Urban, and Fred Grandy as Gopher, I think.
Both the L.A. Times‘ Ben Fritz and THR’s ever-jolly (despite his lousy new theme music) Carl DiOrio agree that the cleverly pitched comedy thriller, putting mostly older actors in the traditionally young-skewing over-the-top action genre, should net about $25 million. The even more cleverly framed “Jackass 3D” should, however, ride those expensive tickets, the spectacle of three dimensional bodily by-products, and the tendency of young males to see movies opening weekend, to about $30 million or more. “RED” should have the longer legs, but presumably “Jackass” has the smaller budget (medical insurance bills for the cast notwithstanding). Both will do fine.
It’s a very busy weekend in limited release. Artistically speaking, the most important films of the bunch will likely turn out to be Olivier Assayas’s mega massive and hugely praised true-life political thriller, “Carlos,” about the notorious far-left terrorist of the 1970s which you can watch all 330 minutes of this weekend in a few showings at the American Cinematheque’s Egyptian Theater in Los Angeles, and I’m tempted to. A shorter 2.5 hour cut is also available for people with less stout buttocks and/or lives to lead. On the other hand, one can never sneeze at a new movie by Clint Eastwood, and “Hereafter,” his second movie to star Matt Damon, begins to appear. This time, the octogenarian Mr. Eastwood takes on the topic of death itself.
Meanwhile, 542 theaters are going to be empty save for a few hardcore tea parties, I predict, this weekend as “I Want Your Money” opens. I’m actually sitting on an interview with director and would-be conservative answer to Michael Moore, Ray Griggs, from Comicon which will likely never see the light of day because it’s mostly quite dull and he had really nothing to say of interest to say about the movie we were actually supposed to talk about. It only got interesting when he mentioned this movie, which he dishonestly tried to pitch to me as nonpartisan. I smelled a cinema rat and, as I now know, the cast is dominated by famed Republican pols like Mike Huckabee and Newt Gringrich. However, a PR person ended the interview before I could try and figure out what the story really was.
Most conservatives would never believe me, but I don’t assume “I Want Your Money” is extremely bad because I disagree with its politics, I assume it’s extremely bad because Griggs last (apolitical) movie got a rare 0% from Rotten Tomatoes, including being slammed by the New York Post’s conservative Kyle Smith. He also couldn’t discuss “I Want Your Money” — or the other movie — with me in a straightforward fashion which doesn’t speak well for him or either movie. To quote the old rock and roll song, sometimes bad is bad.
I’m still a bit busy and distracted by various matters including the ongoing Los Angeles Film Fest and last night’s L.A. premiere of “Animal Kingdom,” an ultra-neo-noir Aussie crime drama/suspense film that’s a bit dour for my taste but which boasts some outstanding performances and characterization, and a dynamite third act that my mind is still reeling from. Nevertheless, I’ve got a couple of trailers here that promise some fairly provocative manners of death dealing of the more frivolous and, perhaps, fun variety. We’ll start with the Red Band trailer for “Predators” for the wanton monster bloodshed and destruction you demand and the F-word you expect. H/t Den of Geek.
Via Cinemablend, and on a somewhat higher plane — because how can the sight of Dame Helen Mirren wielding a machine and blowing shit up not be on a very high plane indeed — comes the non-superhero comic book adaptation “RED,” as in “Retired, extremely dangerous.” Yep, it’s the action movie first-wave baby boomers have all been waiting for. It’s also got Morgan Freeman, the beautiful Mary Louise Parker, an excessively MK-Ultra‘d John Malkovich, and some other bald dude from the eighties.
I couldn’t tell you how many comic stories I read back in the day featuring Jonah Hex, the slightly creepy and not-so-slightly disfigured DC comics gunslinger, but I can tell you they were the only western comics I ever read and I that I once liked some of them quite a bit. The only problem is that I can’t help staring at that little piece of skin-and-what-not that goes from the top to the bottom of his mouth. It never quite made anatomical sense to me. Besides, I can’t help but think it would devilish hard to eat with that thing. If I’d were Hex, I’d probably find a doc who wasn’t too stingy with the laudanum and ask him to remove the dang-blamed thing and just hope he was up to date on that newfangled Louis Pasteur sanitation stuff.
Anyhow, that’s just me. Below, we have the trailer for the film starring Josh Brolin, Megan Fox, and John Malkovich. It comes via AICN’s Beeks, who is none too positive. At the same time, a good, silly B-picture can really be fun sometimes, so maybe this will be better than he thinks. It doesn’t look particularly witty, but it doesn’t look boring either. Who knew there were so many massive explosions in the era of western expansion? Hex is also the first western hero that I know of to have his own Q.
* The big breaking news around the film geek blogosphere is that THR’s Heat Vision blog is reporting that Chris Evans will, indeed, play Captain America. I’ve only seen Evans in the first half-hour of “The Fantastic Four” (that was as far I made it through that one) but let’s say that, for the time being, I’m having a very hard time getting excited about this news.
* Moving from a project I’m interested in with some casting I’m not finding so interesting right now, we move on to some very interesting casting for a project I’m really not that personally interested in except to root for it to do as little business as possible because of the kind of filmmaking it symbolizes. It appears that John Malkovich, Francis McDormand, and Ken Jeong will all be in…wait for it…”Transformers 3.” Christopher Campbell has the predictably cynical and amusing blog reactions. I should add that I have absolutely no criticism of them for being in it. If Michael Bay wants to give me a few hundred thousand to do something connected to one of his films, I’m taking it. Now, if he wants me to say something nice about the flick, that’s going to cost a whole lot more.
* The bidding deadline has been extended a bit for the sale of MGM to make room for an offer from Time Warner. I imagine that would put the classic-era and later MGM library all under one corporate umbrella, which could make life a bit less confusing for us film buffs.
* I love spy movies. Also, in theory, I have no problem with movies based on video games — apart from the fact that I can’t think of one that people actually like very much, much less that I’ve personally seen and liked. Still, with all the great spy novels of all shapes and sizes that there are, the thought of a spy movie based on a video game does not make me very happy.
* I’m confused, is “Everything Must Go” starring Will Ferrell, which starts production this week with financing direct from its producers, really going to be an entirely non-comedic film, or is it being billed as a “drama” simply to distinguish it from Ferrell’s usual ultra-wacky comedies? To me, the premise sounds laden with a potential for dark humor, though I don’t know the Raymond Carver story, I do know he occasionally indulged in that.
* Previews begin the day after tomorrow on Broadway of the new stage musical, “American Idiot.” With a book by Green Day singer and lyricist Billie Joe Armstrong, the show’s “dialogue” is, as I understand, almost entirely sung. It ran to mixed-to-positive reviews last year in the main theatrical venue of the Green Day’s California Bay Area hometown, Berkeley Rep. While not all the critics were high on the NoCal edition of the show, apparently Tom Hanks and his producing partner Gary Goetzman like it and are “in talks” to turn the production into a feature movie. I love some of the music on the highly acclaimed original album, so I’m intrigued by this one, though I could easily see it turning out horribly. (The music video featured by Kevin Jagernauth of the Playlist shows one way example of how a film version could go rather badly wrong.)
One thing this is not is a “jukebox musical” along the lines of “Mamma Mia!” but a concept album adaptation closer in spirit, I imagine, to “Tommy” and “Pink Floyd’s The Wall.” Still, one hurtle all these movies rarely overcome is the difference in energy between a live performance of a great rock and roll tune and the inevitably more packaged version you’ll get in a movie. Personally, I’ll be impressed if anything in the film version, if there ever is one, matches the intensity of the performance below.
“Saturday Night Live” has been harshly criticized over the years for failing to deliver quality episodes each and every week, but have you ever stopped to think just how difficult that really is? In James Franco’s all-access documentary, “SATURDAY NIGHT,” audiences finally get a behind-the-scenes look at the arduous task of putting together a 90-minute live show. Capturing every step of the creative process – from the actors and writers pitching their ideas to the week’s host (in this case, John Malkovich) to putting on the final show – the film delivers an honest look at the high-stress, dog-eat-dog world of sketch comedy. With only 24 hours to conceive and write their sketches (and guys like Will Forte seemingly sleepwalking through most of it), it’s amazing that any of them can be funny at all. Perhaps more shocking, however, is that only nine of the 50 proposed ideas actually make it into the final show.
“SATURDAY NIGHT” focuses on just a handful of them, and it’s here that we see the evolution that each one goes through along the way, including rewrites and last-minute edits that come out of rehearsals. We also learn that while some sketches (like one lampooning the Empire Carpet commercials) bring down the house during the initial round of table reads, by the time it comes to performing it at dress rehearsal only hours before the live show, it falls flat with the audience, forcing the producers to pull it from the line-up. Franco gets some good interviews with the cast and crew, even putting himself on camera to discuss his own hosting experience, but he doesn’t really document anything that someone with the exact same access couldn’t do. “SATURDAY NIGHT” is still a fascinating study of a particular facet of the entertainment industry, and if there’s anything to take away from the documentary, it’s that these guys are only human. As one producer aptly declares when discussing future cast members: “If you’re a perfectionist, don’t come here, because nothing is ever perfect.”