Author: Bob Westal (Page 129 of 265)

Writer guy Bob Westal was literally born in Hollywood and has commented on the worlds of movies, popular culture, politics, and food ever since. His interest in cocktails is more recent, but he made up for lost time with hundreds of “Drink of the Week” blog posts for Bullz-Eye. In addition to writing and editing, Bob also talks a lot.

Beyond “Battlefield Earth”

How would it feel to be the credited writer of the worst movie of the decade? J.D. Shapiro, whose name is on the screenplay for “Battlefield Earth” knows exactly how it feels and he’s written a funny and revealing explanation of just how he came to work on the Razzie winner for the worst movie of the oughts. Let’s just say that this less than ideal career move, like so many bad career moves, began below the belt. You definitely want to read this.

Now, whenever I catch a few minutes of “Battlefield Earth” on cable, it’s not the inane dialogue or the insane visual approach I notice so much as the acting. And it’s not the acting in general so much as one particular performance…

You know, I think we need an instant replay of the key moment from that scene…

Sweet Beyoncé

Okay, so I’m not really a guy whose on top of all the latest pop music trends. So, I was a little surprised to see that the Beyoncé video below, “Get Me Bodied” (when did “body” become a verb?),  bears a very direct resemblance to one of my favorite sequences from one of my favorite movies by one of my favorite directors.

I’m not in the mood for a long-winded commentary, so I’ll simply present the video, which I gather was co-directed by Beyoncé and Anthony Mandler, and then the original scene and you can draw your own conclusions about this acknowledged homage.

And here’s the original.

If you want to read more, a lot more, about 1969’s “Sweet Charity” and director-choreographer Bob Fosse, you might want to take a look at my lengthy essay from the “Fossethon” I had at my personal blog back in ’07.

“How to Train Your Dragon” wins the box office race; “Hot Tub Time Machine” is all wet compared to “Alice”

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Yes, no gigantic surprises as the combination of family appeal, outstanding reviews, good word of mouth, the 3-D inflationary spiral, and a sufficient number of theaters in which to milk it, made for a solid opening for the weekend’s most high profile new release. To be specific, as per Box Office Mojo‘s handy dandy weekend chart, the 3-D animated “How to Train Your Dragon,” netted an estimate of $43.3 million for Dreamworks/Paramount and enjoyed the highest per-screen average of any film released this week on more than one screen, and it was on 4,055 of them. It’s a result not far from what was expected earlier.

Some may find this a slightly below-par opening. True to form in the ever-spinning world of Hollywood PR, some executive for a rival studio complimented the film but told Nikki Finke it tracked badly — and some day I’m going to learn exactly what that means — because it “lacked comedy,” which confuses me deeply. I mean, the trailer made me laugh. I guess he means it lacked a poop-eating joke or something. Anyhow, Ms. Finke is quite correct that, given the good word of mouth and the coming school holidays it should enjoy “good multiples.”

Meanwhile, Anthony D’Alessandro, Anne Thompson’s resident box office guru, has this to add:

While some box office analysts are crying foul that this figure reps a paltry opening weekend, particularly for a 3D film saddled with an estimated $165-million budget, these claims overlook the fact that animation films are a different breed at the box office than run-of-the-mill features.  Toons have longer legs, making anywhere from 30-35% of their total domestic haul in their opening weekend, whereas the average bow reps 50%.

In other words, do not cry for the filmmakers or Dreamworks. They’re going to do fine.

And, though their film is out of the top spot, neither should you shed a tear for Disney or Tim Burton even if “Alice in Wonderland” is out of the #1 spot. They had a terrific three week run at the top spot and this week’s second place estimate of $17.3 million is not too shabby either.

John Cusack, Rob Corddry, Craig Robinson, Lizzy Caplan, and Clarke Duke suffer past shock in On the other hand, the melancholy clowns of “Hot Tub Time Machine” led by John Cusack, Rob Cordry, the always hilarious Craig Robinson, and Clarke Duke, could perhaps benefit from a bit of sympathy. The comedy from MGM, currently on the auctioneer’s block, earned an estimated $13.65 million.

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Movie moments for Mr. Kimura #2

To learn who Takeo Kimura was and I why I’m saluting him, see my prior post. Now, let’s rock and roll with “Tokyo Drifter.”

And now a red band trailer from long before the invention of red band trailers for “Branded to Kill” — you’ve got your violence, you’ve got your sex, you’ve got your art.

Movie moments for Mr. Kimura #1

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Knocking around the cinephile blogosphere this morning, I happened upon the sad news, via Toronto Japanese cinema maven Chris Magee, that Takeo Kimura has passed on at age 91. Now, if you don’t know Mr. Kimura’s name immediately, don’t feel too bad. I didn’t recognize it either. However, when I found that  he was Seijun Suzuki‘s art director, I had to take notice.

Now, if you don’t know Mr. Suzuki’s name right of the bat, don’t feel bad either. It just perhaps means you’re not a movie geek with a strong interest in Asian genre cinema of the 1960s and beyond. The world probably has enough of those anyway. What it doesn’t have enough of, however, is filmmakers with Suzuki’s boldness and off-kilter but (often) entertaining sensibility. A acknowledged influence on Quentin Tarantino (whose birthday this is, by the way), Jim Jarmusch, Wong Kar-Wai and probably many others. His best films, like the truly bizarre and compelling black and white “Branded to Kill” play a bit like Sam Fuller thrown into a cuisinart with David Lynch and Jean-Luc Godard. The color ones are weirder.

However, film is a collaborative media, once you seen one of his films, or even a moment from them, you’ll understand why Suzuki’s art director would be his most crucial collaborator.  We’ll move backwards in time, starting with a clip for 2001’s “Pistol Opera,” also co-written by Kimura, which is not an everyday contribution for a production designer to make.

Its reputation is somewhat mixed to say the least (I have yet to see it myself) and ordinary coherence in storytelling is not really Suzuki’s strong-suit in any case. Nevertheless, there’s no denying that what you’re about to say is not something you see everyday, not without the right mix of rare herbs and mushrooms, anyhow and that’s primarily thanks to the late Mr. Kimura.

I’m still trying to work out how that film is supposed to be a remake of sorts of “Branded to Kill,” as that was an absurd but relatively low-key film about a troubled hitman with a sexual attachment to the smell of rice being cooked (really), but there you go. More to come.

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