Author: Bob Westal (Page 152 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.

“From Paris with Love”

For much of the last few weeks I’ve been steeped in cinematic depictions of Paris for an upcoming Bullz-Eye feature that will, just coincidentally, be seen about the time Pierre Morel’s upcoming action flick, named above, makes its way into theaters. Taking a look at these trailers (one redbanded for cursing a big of hard-edged gun violence), I can safely say that none of the movies we covered is quite in the same category.

Also, while I’m still somewhat unsold that Morel is the guy to take on “Dune,” and I’m a bit curious about the politics here, for what it’s worth, he does have a nice way with an action scene, and he’s studied his John Woo a bit. That’s a good thing for an action director to do.

Okay, so that last line wasn’t on a par with “Tuco’s advice,” but still, some reasonably effective mayhem there.

Weekend box office: “Avatar” gets the double three-peat; “Legion” ascends to #2

Do I even need to tell you that “Avatar” once again topped the weekend box office? Well, I’m telling you anyway. I’m also adding that, as per the good people at Box Office Mojo, it suffered only a very modest 15.9% drop from last week and made a healthy estimated $36 million over this weekend, topping the box office for the sixth time running. Moreover, Jolly Carl DiOrio reports that, barring worldwide calamity of some sort, as of tomorrow, James Cameron‘s science fiction adventure looks to beat the record of his “Titanic” and be the number one worldwide moneymaker of all time.

Meanwhile, Nikki Finke, never anyone’s cheerleader, is quick to remind us that the film is actually only the 26th most popular film of all time when you adjust for inflated ticket prices, and I’m wondering if it’s possible to adjust for population growth over the century or so history of the movie business. Still, a buck’s a buck and there’s no taking away from James Cameron’s achievement in connecting in an intense and emotional way to the masses and getting them to part with not too small sums of money in fairly hard economic times.

We do have a bit of a surprise in the #2 spot. If you were here for the weekend preview, you’ll perhaps guess that  I am slightly surprised that the killer-angels movie, “Legion,” managed an estimated $18.2 million for Screen Gems with a very good per-screen average of $7,351 (it was on about a thousand fewer screens than most of the other top pictures). It managed this despite about zero buzz and some withering early responses. I guess young men just wanted to see a movie about buffed angels killing people and each other.

I just wonder if any religious types will take notice of it now. I simply have a hard time imaging a movie about kick-ass emissaries of God fighting each other and slaughtering people not offending someone, but that’s just me. On the other hand, Paul Bettany’s career as well as that of its first-time feature director Scott Stewart would seem to be newly blessed.

Following Warner Brothers’ “The Book of Eli,” which endured a fairly typical drop of 48.2% percent in its second week for an estimated $17 million, was the movie I pretty much expected to be in the #2 spot, “The Tooth Fairy.” The family-factor failed to come to the rescue for the PG-rated Dwayne Johnson comedy vehicle, which managed a fairly soft estimated $14.5 million. Considering it’s budget was $48 million as opposed to the $22 million for “Legion,” it has to be something of a disappointment for Fox.

Brendan Fraser and Harrison Ford in Still, that’s nothing compared to the drubbing the newly formed CBS Films took for the Brendan Fraser/Harrison Ford medical drama, “Extraordinary Measures.” A topical subject matter couldn’t erase the fuzziness pervading the film’s profile and came in at the #7 spot and made a matching $7 million in its first week. And here comes my obligatory medical metaphor….At this point, the prognosis for CBS’s movie foray might be a little shaky.

“Inglourious Basterds” tops SAG Awards (updated)

The win for “Outstanding Performance by a Cast in a Motion Picture” for Quentin Tarantino‘s high-spirited war picture was the closest thing to a surprise for the Screen Actors Guild awards last night. Considering the genuinely outstanding performances “Inglourious Basterds” contains from such non-multiple award winners or nominees as Melanie Laurent, Michael Fassbender, Daniel Brühl, and Brad Pitt among others, this gives me a happy.

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Otherwise, however, these awards getting almost as repetitious as our May and June weather forecasts in Southern California. (Say it with me, L.A. residents: “Late night and early morning low clouds followed by hazy sunshine in the afternoon.”)

So, guess what…The Best Supporting Actor trophy went to basterd par excellance Christoph Waltz, who at this point pretty much owns the category with his uber-first class bad-guy performance as the “Jew hunter” Colonel Hans Landa. Similarly Mo’Nique from “Precious” once again took the Best Supporting Actress for her work as the abusive mother of the title character in the lauded but controversial drama. The only thing likely to be more dramatic than her Oscar acceptance award would be the howls of disappointment if she somehow doesn’t win.

Jeff Bridges, too, is looking like a lock for a Best Actor Oscar for his performance as a down at heel country musician in “Crazy Heart,” as he picked up another trophy tonight. Apparently, everyone just decided this was Jeff Bridges’ year. It’s about time.

One award SAG has that the Oscars don’t, and probably should, is for stunt ensembles and that went to “Star Trek.” Well, that’s a refreshing change of pace.

A complete list of the SAG awards, which also covers television (three cheers for “Mad Men” and the great Betty White!), is viewable courtesy of the New York Times.

UPDATE: Oh by gosh by golly! I forgot to mention the one acting award where there will be some suspense at this year’s Oscars, and that’s Best Actress, which is shaping up to be a real battle between Meryl Streep’s interpretation of Julia Child in “Julie and Julia” and Sandra Bullock‘s red state Samaritan in “The Blind Side.”  Chalk the SAG awards as one up for Team Sandra.

I guess a little more graphic violence helps

We’ll be revisiting this tomorrow, but it looks like the mass-murdering-angels action-horror flick, “Legion” appears to be the #2 movie in the country this weekend. Right after “Avatar.”  Which leads me to wonder why “Dogma,” which took a comedic approach to the same material back in 1999 didn’t do better despite a lot of free-publicity generating controversry.

I know Kevin Smith is no one’s idea of a cinematic stylist, but he can write. Do the young men who go to these things have an actual aversion to decent writing? Just a thought. Anyhow, here’s the most “Legion” like scene.

RIP Jean Simmons

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If things had gone a bit differently, she might well have been as huge a superstar as such contemporaries as Audrey Hepburn or Natalie Wood — she certainly had the talent and screen presence to do so. However, as I’m reminded by her New York Times obituary, an ugly situation involving a sexual proposition the married actress got from Howard Hughes may have prevented Jean Simmons from reaching the super-stardom she deserved as much as anyone. The vindictive aviation and filmmaking magnate may have deliberately put her in films he thought were inferior and refused to allow his film studio to lend her out for the lead in “Roman Holiday,” the role that deservedly made Audrey Hepburn a more or less instant star.

Nevertheless, Ms. Simmons, who sadly passed on yesterday at age 80 from lung cancer, outlasted her Hughes contract and gave witty and altogether enchanting performances in numerous and diverse films, ranging from break-out teenage performances as the young Estella in David Lean’s still-definitive 1946 version of “Great Expectations” (she’d eventually play Mrs. Havisham in a TV production) and as Ophelia in Laurence Olivier’s 1948 “Hamlet.” As a puckishly beautiful adult actress who pretty much owned the word “luminous,” she had no problem quietly stealing scenes on an epic scale from the likes of Kirk Douglas in “Spartacus,” Burt Lancaster in “Elmer Gantry,” Gregory Peck in William Wyler’s underrated “The Big Country,” and, most famously these days, Marlon Brando in her only musical appearance, “Guys and Dolls.” Brando was easy to outshine musically though she was also easily his acting equal or superior, but here she shows she would have had to chops to almost hold her own musically with with costar Frank Sinatra, if only the script had called for it. What she lacks in polish, she more than makes up for in sheer commitment.

An admitted survivor of alcoholism, Simmons was a class act on every level who famously complimented Hepburn on her great “Roman Holiday” performance, as painful as it must have been to watch and even though it’s not clear that she wouldn’t have been just as good in the role. She kept working through most of her life — her last significant role was her voice work in the English-language version of “Howl’s Moving Castle” — and her loss to the world of entertainment is not a small one. She was often low-key, but she was never dull.

There’s more from David Hudson, Edward Copeland, Jose at the Film Experience, and Glenn Kenny. The L.A. Times also has an excellent and very detailed obituary.

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