Month: January 2010 (Page 21 of 25)

“That’s why we’re superheroes. They love us.”

The box office preview is coming along later today, I promise, but in the meantime it seems it’s never a bad time for a new “Kick-Ass” trailer. Yesterday came the announcement that this highly buzzed about non-supernatural/non-sci-fi superhero action black comedy from the highly underrated director Matthew  Vaughn (“Layer Cake,” “Stardust“) will be opening the big SXSW Film festival in Austin this March.  Now, via the Heat Vision blog, here’s a very decent general audience trailer  — the movie itself is certain to be a “hard R”  — which describes the story in a bit more detail.

And, just for a bonus, here’s an earlier Red Band clip-trailer via Trailer Addict that I failed to run a while back, It adds a bit to what we saw previously of Chloe Moretz and Nicolas Cage as the not at all ordinary alter egos of Hit-Girl and Big Daddy. It kind of makes you all gooey inside.

I think it’s safe to say that, between this and his stellar reviews for “Bad Lieutenant: Port of Call New Orleans,”  Cage certainly appears to have his regained his performing mojo. From what I’ve been reading, I’m also looking forward to more people agreeing with me that Vaughn, once  known only as Guy Ritchie’s producer, is the better movie storyteller.

Johnny Mercer: The Dream’s on Me

Though he was a rich man, an underrated singer in his own right, and the co-founder of Capitol Records, Johnny Mercer is, 34 years after his death, nowhere near as famous as the author of such brain-burrowing mid-century lyrics as “One for My Baby (and One More for the Road)”, “Ac-Cent-Tchu-Ate the Positive,” “That Ol’ Black Magic,” “Satin Doll,” “Laura,” and “Moon River” really should be. Lyricists rarely get the respect composers do. Moreover, Mercer worked primarily in Hollywood, which in his day meant more money but less prestige than writing songs for Broadway. That’s show business.

“Johnny Mercer: The Dream’s on Me” suffers slightly from the ill-fitting inclusion of some new material featuring super jazz fan and executive producer Clint Eastwood chatting with film composer John Williams and others, but overall, this TCM documentary written by Ken Barnes and directed by Bruce Ricker is a massively engaging documentary look at Mercer’s often surprising career. The 90-minute film efficiently covers his personal riches-to-(not quite)-rags-to-greater-riches story and tumultuous personal life, including a lifelong affair with Judy Garland, but wisely focuses on the music and takes full advantage of some priceless archival footage. Performances and interviews featuring Bing Crosby, Fred Astaire, Louis Prima and Keely Smith, Julie Andrews, Blake Edwards, Ray Charles, a young Barbara Streisand, a middle-aged Bono, and new performances by Jamie Cullum, Dr. John and others (seen in their entirety on the DVD bonus disc), beautifully illustrate Mercer’s gifts and chart his extraordinary influence. An obvious labor of love, “The Dream’s On Me” is not exactly great filmmaking but it’s got great taste and is a must for fans of great popular music.

Click to buy “Johnny Mercer: The Dream’s on Me”

Coming soon….

It’s been one of those days folks and I find myself in a Coffee Bean and Tea Leaf in beautiful Camarillo, CA rushing out one last quickie blog post before the 10:00 p.m. closing time.  But trust that we will have a weekend movie box office preview post up for your delectation some time tomorrow and all will, at last, be right with the world.

In the meantime, here, have some “Plan 9 From Outer Space” lowlights.

DGA nominations: no surprises

If you’ve been following the various awards and awards nominations that have been coming out of the past several weeks, there’s a good chance you can guess exactly what the Directors’ Guild nominations are without me even telling you. But just for the sake of latecomers, the casual and those who can’t be bothered, they are:  Kathryn Bigelow for “The Hurt Locker,” James Cameron for “Avatar,” Lee Daniels for “Precious,” Jason Reitman for “Up in the Air” and Quentin Tarantino for “Inglourious Basterds.” It would be a fairly big surprise if the Oscar’s nominees were a whole lot different.

Gregg Kilday at THR points out that Lee Daniels is the first African-American to be nominated (!!!!) and Kathryn Bigelow is joining the very small club of women to be nominated for the award. However, you can be sure that if she wasn’t nominated, her absence would have been the story, considering how her film has been received up to now. The same might have gone for Daniels, though perhaps to a lesser degree as he has more detractors.

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My hunch is that Bigelow also enjoys a somewhat better better chance to actually win than did such past female nominees as Lina Wertmuller, Jane Campion, Sofia Copolla, and, yes, Barbara Streisand, though the competition is mighty stiff. Of course, there’s always some controversy, so now the question is, why leave out first-timer Tom Ford of “A Single Man”? And so, the Playlist asks  a related question: “Too Gay or Too Little Money?”

Fun fact time: This is also the first time, I’m pretty sure, a once-married coupled (Bigelow and James Cameron) have been nominated to oppose each other for the directors’ awards. Of course, once we succeed with overturning Proposition 8, that could get more common even if the DGA remains predominantly a boys’ club.

On a related note: The BAFTAS long list.

Bill Paxton is up for a “Twister” sequel. Anyone else?

In an interview with Bullz-Eye in conjunction with the season premiere of HBO’s “Big Love” (Sunday, Dec. 10th), Bill Paxton revealed that one of the items on his to-do list is a sequel to his 1996 blockbuster, “Twister.”

“I’ve had a meeting at the studio with Kathleen Kennedy about it,” Paxton said, whose inspiration for a sequel came as a result of a trip that he took to the Ozark Mountains last spring.

“I flew into St. Louis with my buddy Scott Thomson, who played Preacher in ‘Twister,’ and we rented a car and drove down to southeastern Missouri, into the Ozarks,” said Paxton. “We spent the night, and the next morning we got up and we started tracking the trail of the most famous tornado that ever hit the country, which was the Tri-State Tornado of 1925. It still holds all of the records. It was called the Tri-State because it was a mile wide when it came down from the sky on the afternoon of March 16, 1925, and it was a rural area, but, boy, before it was through, it crossed the Mississippi, it cut across southern Illinois, where it hit a lot of towns. The biggest one was Murphysboro, which was…it literally looked like Hiroshima after it hit. And then it went across the Wabash, into Indiana, staying on the ground three and a half hours and cutting a damage path 219 miles long, killing about 700 people. There’s actually footage that I found in Murphysboro at their historical society. They had footage from a biplane that the government sent down, just to do aerial footage of all of the destruction and the damage. So we just did that to kind of get some ideas, and from that I kind of extrapolated an idea for a sequel. And I kind of put that together into a format, and now we’re kind of waiting to see if that’s going to move forward.That would need Steven Spielberg’s blessing, ultimately, and they probably won’t take it to him ‘til there’s real studio interest, but I think the 3D applications of that could obviously be pretty amazing.

“The only reason I’d like to revisit that ground is because I realize we’re living in a time where big movies cost so much to make that the town is looking for built-in audiences,” admitted Paxton. “Of course, I’m so glad to see that the success of ‘Avatar’ is disproving that theory, but…I always thought the first ‘Twister’ was an exciting ride, but I thought a sequel could explore it in a more enthralling way, getting into more of the history and the lore, more of a darker version of the first one.”

Although it may sound more serious than the original “Twister,” Paxton doesn’t think that fans of the first film would have any problem accepting the sequel. “I think you’d still want to have a lot of the dark humor and all of that, with the flying cows and everything,” he said, with a laugh. “I think you could kind of intrigue people more by getting into a little more of the lore and really understanding. I just think there’s a lot more to explore there. When I researched the first film when I was getting ready to do it, I just found so much stuff. Ultimately, I was happy with ‘Twister,’ but I also had thought that it could’ve gotten a little deeper into it.”

What you do you think? I can’t say I’ve been chomping at the bit for “Twister 2,” but Paxton has proven in the past that he can make just about anything worth watching, and his point about how such a film would be perfect for 3D is certainly food for thought.

Check out the full interview with Mr. Paxton by clicking right here.

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