Month: December 2009 (Page 4 of 24)

Advice for directors of new musicals in a wicked little town

So, earlier tonight I went off on a bit of rant inspired by a really strange sounding remark made by show-biz reporter-pundit Nikki Finke to the effect that she thinks “Nine” failed at the box office not because it’s a fairly poorly received film with a vague premise, but because it wasn’t gay friendly enough. No need to repeat my snark-laden commentary, but I thought I’d present the piece below as a bit of food for movie thought.

I debated whether or not to include this sequence in my recent look at musical films of the 2000s, but opted to include another scene from John Cameron Mitchell’s amazing “Hedwig and the Angry Inch,” easily my choice for one of the two or three best musicals made over the last decade or so. Now it seems apt.

Given the storyline, this movie — and this scene — certainly does not lack for the LGBT awarness Finke seems to demand of a modern musical. However, the reason I’m including it here is that, despite my personal opinion that Kate Hudson is way cuter than anyone you’re about to look at (sorry, Kwahng-Yi, et al), I think Mitchell’s approach to filming a musical sequence is pretty vastly superior to Marshall’s — though they are both disciples of Bob Fosse.

Sometimes all you need to do is to keep things simple. So far, I’ve never seen Marshall try that approach. Maybe he’ll give it a shot sometime.

Doctor Who: The End of Time Part One

Before moving on to the actual write-up, let’s take a moment to offer some high praise to BBC America for showing this episode a day after it first screened in the U.K. A day! For the first time on American TV, we aren’t seeing the premiere of a “Doctor Who” Christmas special when it’s warm outside, and the Christmas-themed portions of the story don’t seem hopelessly out of place. Back when I wrote up “Journey’s End,” I pleaded with Syfy to show the various David Tennant specials in a timely manner, so that audiences wouldn’t be forced to go elsewhere to get their “Who” fix or, even worse, get bored and forget about the show altogether. Good thing Syfy no longer has first-run rights here in the States, because I highly doubt they would’ve made the same programming move that BBC America made. Further, BBC America is committed (at least for the time being) to showing the episodes uncut, which is just as if not more important. Keep it up BBCA, and you’ll keep building a devoted audience. Heck, even a week or two after the U.K. premieres would be more than acceptable in my book.

It’s always difficult to write about the first half of a two-part finale, and never more so than in this case. This episode is all over the place in tone, and yet hangs together quite nicely, although it took me two viewings to realize the latter. Yet whatever one might think about “The End of Time Part One,” there’s no denying that the bigger picture has yet to be seen, and what Russell T. Davies unveiled in this hour is only a setup for the real finale. About the first 15 minutes of this thing just zoom by, setting up one aspect of the story after another. In fact, there are so many elements that are set up throughout the hour that one wonders how they can all be addressed in the finale proper.

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“Avatar” tops a weekend of holiday box office bounty

If you’ve been following the horse-race over at Nikki Finke’s place, you’ll know it’s been a very long holiday weekend of box office ups and down. However, for those of us who can wait a day or two for the results, it’s actually somewhat simple.

Avatar movie image (3)

James Cameron‘s super-expensive 3-D extravaganza for Fox, “Avatar,” emerged as the victor of a three-way battle for the top prize with an outstanding second-weekend estimated take of $75 million and an absolutely minuscule drop from it’s first weekend of 2.6%, according to Box-Office Mojo. The Hollywood conventional wisdom has it that most science fiction films drop by at least 50% on their second weekend. Clearly, this is not most science fiction films and the fact that people are waiting to see this one in 3D and paying extra for the privilege is not hurting. So, as I’ve alluded to often enough, the word of mouth on this thing is something else. However, as always, I await the backlash as some folks plunk down their extra-heavy 3D ticket price and fail to have a religious experience.

Robert Downey Jr. and Jude Law as Holmes and Watson, or some version thereofSecond place, of course, was Guy Ritchie’s unorthodox action-comedy take on probably the oldest genre franchise in the biz, “Sherlock Holmes.” The Robert Downey, Jr./Jude Law team-up loosely drawn from the late 19th/early 20th century works of Arthur Conan Doyle defeated “Avatar” and all-comers on its record setting Christmas opening. It then fell a bit and earned a still whopping estimated $65.38 for Warner Brothers, a company that certainly has some experience with franchises. Better yet, this one is in the public domain, which means fewer folks get a share in the wealth.

Fox’s “Alvin and the Chipmunks: The Squeakquel” actually beat “Avatar” by a couple of million on its early opening day last Wednesday, but fell sharply on Christmas Eve and rebounded the rest of the weekend, for a very healthy estimated third place showing of $50.2 million. Critics may detest it; parents may barely tolerate it, but, to paraphrase the old blues song, the little kids understand (or don’t know any better). The film’s total estimated take starting from its early opening is just a tad over $77 million.

Considering it’s a Golden Globe-nominated sex comedy presumably aimed at a very grown-up audience — not only because of the average age of its stars but also because it’s R-rated, Universal’s “It’s Complicated” has generated the critical equivalent of a shrug, with our own David Medsker coming down on the very much negative side. That doesn’t bode extremely well for this sort of movie, which can use all the critical and awards help it can get.

Meryl Streep and Alec Baldwin in Still, this weekend’s rising tide managed to lift this boat to the tune of an estimated $22 million or so, which is really not bad for this kind of film. Or, it wouldn’t be because Nikki Finke claims the budget was $80 million, which is way high for this kind of movie  and suggests to me that it’s possible stars Meryl Streep, Alec Baldwin, and Steve Martin let their agents negotiate extra-hard for a big pay-day because they were perhaps less than wowed by the film artistically. Universal just doesn’t seem to be cutting itself any breaks lately.

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