Month: April 2010 (Page 14 of 20)

It’s your end of week movie news dump…

And I mean that in the nicest possible way.

* Champion poker player Chris Ferguson is making movies, writes Mike Fleming. He’s probably as well prepared for the business as anyone could be.

* I can’t help but think that this Anne Thompson item about two sets of brothers bidding for Miramax — one pair of them being Mira and Max’s sons, Harvey and Bob Weinstein, and the other being the wealthy Tom and Alec Gores — is somehow related to an odd claim by actor Michael Madsen. In a radio interview, the voluble and consistently amusing Madsen stated that Quentin Tarantino‘s long shelved concept for a combined “Pulp Fiction” and “Reservoir Dogs” prequel about his and John Travolta‘s characters has been revived. How? Well, it will now be a sequel and…well, you have to go over to Peter Hall’s post at Cinematical, but it also involves two pairs of siblings.

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Do I buy this? Well, it does sounds like Tarantino in that it’s kind of a doubling up of a gimmick used by a favorite director of his to overcome a similar sequel obstacle.  (If anyone out there has seen John Woo’s great 1980’s Hong Kong pistol operas, “A Better Tomorrow” and “A Better Tomorrow II,” they’ll know what I’m getting at.) Still, the whole thing has a shaggy dog story vibe to it that I suspect means we’ll never, ever see a “Vega Brothers” movie of any sort. I also get the vague feeling that it’s just possible Mr. Madsen and/or Tarantino is having us all on, as the Brits say. Still, I’m sure Mr. Tarantino’s trips to Tijuana can have a way of stimulating the imagination.

* Anne Thompson also brings up a very real issue that we Angelenos will recognize regarding the move of the Los Angeles Film Festival to Downtown L.A. L.A.’s downtown is in the middle of, I guess, a rebirth of sorts, but the issues associated with setting it there are legion. We’ll start with the exorbitant cost of parking.

* The porno “Big Lebowski” is upon us. Great production values for porn but, otherwise, I can’t say the (sex free) trailer looks in any way “good,” though I guess Tom Byron does qualify as the Jeff Bridges of the porn world. (Ron Jeremy is it’s Pacino/De Niro, I suppose.) Also, spoofs of comedies almost never work. Still, kind of gives a whole new meaning to “Achievers.”

* I’ve never heard anyone say they miss Michael Ovitz and his noxious effect on Hollywood back in the eighties and nineties. However, Nikki Finke’s lingering venom towards him fifteen years after his departure from the scene is utterly pointless.

* Could it be? An Asian-American comic headlining his own comedy and his character is named neither “Harold” nor “Kumar”? Yes, maybe. The very funny Indian-American stand-up/actor Aziz Ansari, who first came on my radar screen championing the cause of movie consumer rights, could be in the new comedy from “Zombieland” director Ruben Fleischer, writes Jeff Schneider of the Wrap.

* RIP Meinhart Raabe who has passed on at age 94. He was the Coroner of Munchkin City, so I’m not sure who’ll confirm his passing. (I’m so sorry for that, really, but I’m sure the late Mr. Raabe had a sense of humor about that kind of thing, assuming that what I wrote qualifies as something resembling humor.)

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“The Gift” that keeps on giving (updated)

One of the cooler aspects of this whole ‘net thing from a film lover’s point of view is that it’s created a whole new venue — if not quite a market — for short films. While it’s still next to impossible to make any money from short subjects, Carl Erik Rinsch, a commercial director who is currently making the leap to features, has apparently used an Internet short to get one of his projects off the ground. It probably helps that he’s got the apparent backing of one of the most respected names in mainstream film-making.

“The Gift” is part of a series of connected shorts called “Parallel Lines” backed by Ridley Scott Associates. The story is as simple as it gets, but the visuals are anything but. Anyhow, according to Peter Sciretta at /Film, it all turns out to be prequel, or I imagine a possible pre-credit or opening sequence, to a new feature over which Rinsch has been able to get an apparent studio bidding war going. It’s embedded below, but I suggest you punch the full-size feature and make sure the subtitles are turned on first for reasons which I think will be fairly obvious.

[UPDATE: Crimeny! I put up the wrong video and no one said anything. Does anybody actually read this? Anyhow…at long last, the corrected one is below.]

Last year, I praised Rinsch’s strong visual sense and sensibility in a post which included embeds of some of his terrific commercial work. While I’m not sure he’s a great storyteller yet, he’s certainly on to something. If you liked the above, I’d suggest you take a look.

It’s box office preview time: Carrell and Fey to clash with “Titans”

Tina Fey, Steve Carrell, and Mark Wahlberg commisserate in

Commercially speaking, the premise of Fox’s PG-13 rated “‘Date Night” seems right on the money. NBC Thursday night comedy dream team Steve Carrell and Tina Fey are a married couple with children in a humdrum relationship rut who, through a case of mistaken identity, wind up fleeing from criminals and repeatedly running into a perpetually unshirted Mark Wahlberg and other dangerous obstacles to their peace of mind.

It’s been some time since a true wide appeal mainstream comedy aimed at adults and also possibly younger comedy fans of both genders has hit the theaters. “Hot Tub Time Machine” obviously skews more than a little male and more recent films, like “She’s Out of My League,” are clearly aimed at a somewhat younger demographic. On paper, the thing seems destined to do extremely well with a potential to elicit the three words sweetest to a studio suit’s ear “four quadrant picture.”

Still, not everyone is thriller. Our own Jamey Codding found the movie a lot more entertaining in principle than in reality. Director Shawn Levy of the “Night at the Museum” franchise is getting by far the best reviews of his career over in  Rotten Tomato land, but that is not as impressive as it could be given his rather rotten critical track record and many of the critics seem to be simply praising the considerable comic skills more than the movie as a whole. As for the box office gurus, a solid but not super-dramatic opening somewhere significantly south of $30 million but probably north of $20 million is predicted by the mysterious voices in Jolly Carl DiOrio‘s ear.

Sam Worthing girds his loins for battle in Of course, the comedy faces some fierce battles ahead with more grim-faced previously released films, most especially last weekend’s top picture, Warner’s “Clash of the Titans.” Like many poorly reviewed genre pictures, it’s expected to drop off by as much as 60%. Moreover, the catcalls from a geek-heavy audience made newly picky about 3-D thanks to James Cameron‘s innovations appear to be depressing turn-out at the pricey 3-D screens. Still, even with a really big sophomore drop off, it still has a very good shot a winning a second weekend in a row, though the win could well be as ugly as Medusa herself.

Also debuting this week is a Christian-themed heart-tugger, Vivendi’s  “Letters to God.” It’s somewhere between a large limited release and a very small major release as it will be in just under 900 theaters this weekend, according to the mighty Box Office Mojo theater count. No reviews are out yet to speak of, but I noticed even the Christian user reviews on IMDb are a bit muted, noting that the acting is in a bit better than on prior films from the same team and the movie is “professional.” High praise.

Not to be glib — which is a way of me preparing you for the glibness ahead — but with the usual church-based marketing push, this one should do okay preaching to the converted. I guess, as a secular Jew, I sort of feel like I see an awful lot of essentially Christian movies, they’re just not marketed that way or noticed because about 95% of Americans are actually Christian. Not that there’s anything wrong with that.

Despite an atmospheric and a mega-creepy trailer that I love and strong trio of lead actors — Christina Ricci, Liam Neeson, and Justin Long — the death-obsessed, R-rated horror thriller from Anchor Bay, “After.Life,” is leaving the large majority of critics as cold as the grave. With only 41 screens for a film which should have a wide appeal for horror fans, an early demise seems likely for this morbid but apparently non-gory tale. I personally hope Ricci, a terrific actress who I haven’t seen in a while in anything, has better luck soon.

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RIP Malcolm McLaren

The legendary inventor of the Sex Pistols and therefore to a large degree punk rock — give or take The Ramones — has sadly passed on from a rare form of cancer at age 64. He was most definitely a showman at heart and the man for whom the phrase “shameless self-promoter” was pretty much invented was, quite naturally, attracted to the movies.

Below is a longish but intriguing and funny scene from the film that Pistols fans felt he somewhat hijacked, Julien Temple’s “The Great Rock and Roll Swindle; it’s somewhere between a documentary and an entirely fictitious musical comedy. But how can a star hijack his own movie, anyway?

And where does an old publicity hungry inventor of an subversive art form intended to destroy culture as we know it end up in his delayed adulthood? Hollywood, where else? What’s he doing? Selling out, but on his terms — another concept he kind of invented.

“Bones” hits the 100-episode mark

Tonight marks the 100th episode of Fox’s “Bones,” which may amaze those who originally only saw the series as something for David Boreanaz to do until Joss Whedon finally got around to making an “Angel” movie. Instead, the show has gradually found a sizable fan base who love the patter between Boreanaz and his co-star, Emily Deschanel, as FBI Agent Seely Booth and forensic anthropologist Dr. Temperance “Bones” Brennan.

Sorry, did I say “patter”? Obviously, I meant “sexual tension.”

This evening’s episode is a flashback to the very first case worked together by Booth and Brennan, one which took place a year prior to the events seen in the show’s pilot. In addition to the fact that it provides an opportunity for the actors to revisit the way they played their characters five years ago (or, in the case of Eric Millegan, an opportunity to play Dr. Zach Addy again period), there’s a concluding moment which has the potential to completely change one of the fans’ favorite parts of the show…or, at the very least, shake it up a bit. My wife, who has seen every episode of the series since its premiere, got a bit emotional at the concluding scene. I’ll be interested to find out if you react the same way.

I was fortunate enough to attend a “Bones” breakfast during Fox’s day of the Winter 2010 TCA Press Tour, and both David Boreanaz and Emily Deschanel were in attendance. Unfortunately, however, my conversation with David was precisely two questions long, thanks to a strange moment where I asked him about working with Diedrich Bader – he plays FBI Agent Andrew Hacker – and got a blank stare and an assurance that he had absolutely no idea who that was.

At the time, I was concerned that I’d gotten bad information, but, no, he definitely had worked with Bader. Weird. Fortunately, before that confusion caused the chat to come to a complete and total standstill, leading someone else to pick up the reigns of the conversation and run with them, I’d asked him how he felt about his series making it to the vaunted 100-episode mark.

“It’s kind of hard to believe that you’re there,” Boreanaz admitted, “especially when it’s hard enough to get a pilot made, let alone picked up. I’ve always maintained that whatever you’re working on, you should work just really in the moment and not think about the next episode. You should just maintain a real strong sense of your work and your ethics and being honest with yourself and just continue to work hard and see where that takes you, whether you do 12 episodes, 20 episodes, or whether you just do a pilot. You’re just fortunate to be working.”

Thankfully, I made no such faux pas while talking to Emily, who was glad to answer my question about how she thinks the character of Brennan has changed over the course of 100 episodes.

“You know, I recently just watched the pilot again, because I’ve been thinking about doing this 100th episode and doing a flashback, so I’ve been thinking about that a lot,” she said. “I think she’s become less guarded, more open…she’s trying to learn socially how to interact with people. Watching the pilot, I was, like, ‘She’s very wild, in a way.’ She’s just determined to do her thing and just does it and doesn’t care what anybody else thinks…and I just love that about her! That’s definitely still true. In one sense, she’s become more polished…and I say that in a lot of ways! But she’s just growing up and kind of thinking about something before she does it. And she’s also trying to understand social interaction and people’s emotions and feelings…and her own! Trying to understand other people’s through exploration of her own. She’s not as quick to just kick someone’s ass! She’s kind of learning to take a breather before she…it’s, like, Fox had this whole campaign of ‘Take a Moment,’ and Brennan had to take a moment before she acted on things. Before, she just acted. That’s not to say that she doesn’t still just act sometimes, but I think that’s a way she’s changed over the years.”

At the time we chatted, they hadn’t yet begun filming the 100th episodes, but they had been having meetings about what it was going to look like.

“Visually, with the hair and make-up and wardrobe, it was fun trying on the wardrobe that was Brennan back in the day,” said Deschanel. “Cynthia Somers, the costume designer, did a great job. She was not there at the beginning, but she did a great job of pulling these things that were very Brennan-esque from the beginning. It’s been great to go and to start thinking about Brennan in that time and what she was. It’s been fun.”

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