Author: Bob Westal (Page 193 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.

Wild paranormal law-abiding stepdads to rule box office, almost for sure

Where the Wild Things Are

If you’re craving variety and unpredictability in your movie weekend, then this weekend is for you. Still, most of the smart money seems to agree that the week’s likely fiscal winner is Spike Jonze’s new PG-rated adaptation of Maurice Sendak’s multi-layered picture book classic, “Where the Wild Things Are.”  The family film boasts an outstanding cast, both onscreen and as voice talent, including Catherine Keener, James Gandolfini, Lauren Ambrose, and Forest Whitaker. It’s also got a director synonymous with high-quality and not-quite-mainstream fare and its hep cred is further bolstered by the name of bestselling author and McSweeney’s founder Dave Eggers on the screenplay. Best of all, commercially speaking, it’s based on a book that’s been read and loved by practically everyone. All told, it seems like a canny blending of mainstream recognition, family appeal, and more than a dash of arthouse appeal, but therein may lie the difficulty.

This is a film that really should bit a big hit with critics, and its advertising certainly sells the film’s visual beauty — always a plus with cinephile critics. However, it turns out our David Medskar’s very mild 3/5 star review is pretty typical of the critical reaction. Rating a good-but-not-great 68% Fresh on the Rotten Tomatoes scoreboard, critics are expressing sentiments similar to Dave, who found it “lacking in terms of emotional weight.” Since emotional weight — laughter and tears, etc. — not arresting filmmaking technique — is what most people are looking for at the movies, you have to wonder about whether the film will show any legs over the long term. Still, jolly Carl DiOrio’s prediction of a $25-30 million dollar weekend seems more than reasonable given the audience’s voracious appetite for strong family films with cross-generational appeal. On the other hand, Disney’s decision to extend the run of the 3-D double bill of “Toy Story” and “Toy Story 2” could cut into the “Wild” numbers just a bit with a terrific package of tried-and-true family fair bolstered by the appeal of 3-D.

Gerard Butler and Jamey Foxx in
For some decidedly non-kid-friendly fair, Director F. Gary Gray and writer Kurt Wimmer’s “Law Abiding Citizen” boasts two more or less A-list leads as Jamie Foxx portrays as a careerist D.A. pitted against against tragedy stricken family man turned imprisoned vigilante serial killer played by Gerard Butler. I think Butler has starred in like 200 million mainstream movies this year. None of those movies has been a hit with the critics so far, and “Citizen” is no exception.

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Tinseltown takes a break

It’s a pretty slow day in movieland with the main stories being non-stories like another possible slow down in the ongoing backstage drama involving the purchase of NBC Universal, which I’ve been ignoring because, I’m not sure how it would really change anything about the movies you’re seeing except who’s collecting the shekels (I’m sure I’m wrong about that in some way, however), and a venue change from the Independent Spirit Awards from Santa Monica to downtown L.A. That’s almost ten whole miles inland (which is like one mile in most cities).

Also, Jon Favreau won’t be directing the Avengers movie when that finally comes to be made, and the Hulk won’t be appearing in Iron Man 2. I wonder what else isn’t happening today? I’m sure someone, somewhere is “in talks” for a remake of something that will probably be not as good as the original, unless I’m wrong and it’s an improvement.

And, not yet a flashy superhero Ryan Reynolds may star in an untitled comedy which will have him in drag. How does “Van Tootsie” or “Some Like it Wilder” sound?

Anyhow, the lull is cool with me as I’ve got stuff to do, including tonight’s weekend movie preview, so I’ll catch you on the flipside. Until then, enjoy a non-eventful movie moment on me.

Recapturing lost youth

I missed yesterday’s big geek film blogger story, which was the possibility that, having successfully headlined the reboot of “Star Trek” as the James T. Kirk for a younger generation, Chris Pine may now star in reboot #3 of the Jack Ryan series of Tom Clancy adaptations.

Anyhow, in penance, below is the trailer for the first film in the long, intermittent series, 1990’s “The Hunt for Red October.” One kind of shocking thing to consider is that while some think Pine is a little young to play the adventure-prone CIA analyst, Alec Baldwin slightly less than two decades back doesn’t look much older than Pine does today.

And just because I’m a sadist/masochist, and I love good comic timing, here’s a more recent — and very NSFW for language — moment with Mr. Baldwin. In 19 years Chris Pine, too, might become…a character actor.

Three losses

he old saw about deaths coming in threes appears to have come true over the last couple of days with the passing of three individuals, all noteworthy to the movie world, though in very different ways.

* Al Martino spent most of his career as a well known lounge singer, but his moment of cinema immortality came with his casting as mob-connected singer-actor Johnny Fontaine in “The Godfather.” According to this rather sensational obituary in The Telegraph, his life  — including even how he obtained the role in the 1972 classic — may have had more in common with Fontaine’s than Frank Sinatra, who most filmgoers assumed was the model for Fontaine. Martino, who got the role after another Italian-American crooner, Vic Damone, dropped out of the running, also appeared in both “Godfather” sequels. He also sang the hit version of the movie’s “Love Theme,” “Speak Softly Love.”

Al-Martino-as-Johhny-Font-001

* On Monday, Anne Thompson posted a moving remembrance of her friend, film scholar Anne Friedberg, who died of cancer at age 57 on October 9. She was the chair of the Department of Critical Studies at USC’s film program. She was married to screenwriter Howard Rodman, who heads the screenwriting program at USC, and her past students included critic Manohla Dargis of the New York Times. Ms. Thompson also included a quote from famed magician/writer/character actor (and David Mamet regular) Ricky Jay, so she obviously had her share of interesting friends as well.

* Former MGM and Columbia Studio executive and producer Daniel Melnick also died yesterday from lung cancer at age 77. He oversaw a number of classic and notable films at the studio and also was personally involved with a number of significant hits and a few classics ranging from “Footloose” (a hit, definitely not a classic) and Bob Fosse’s “All That Jazz” (a classic, not that huge a hit) to Sam Peckinpah’s “Straw Dogs,” to “Altered States” and my favorite Steve Martin movie, “L.A. Story.”

Stop-motion discord on “Fantastic Mr. Fox” (updated 2x)

I don’t know how I missed it up to now, but I just caught up with this fairly extraordinary L.A. Times article from Saturday’s edition by Chris Lee covering some pretty extreme sounding discord between writer-director Wes Anderson and at least some of the crew of his puppet-animation adaptation of Roald Dahl’s “The Fantastic Mr. Fox,” which is set to open on November 25th.

Now, a little grumbling is probably inevitable given that Anderson decided to eschew any and all CGI on the film and do everything “in camera,” including using live fur on the animal characters. As viewers of the original “King Kong” will note, stop-motion fur tends to rustle on screen because the effects people have to pick up and touch the thing and, barring CGI, I believe there’s really no way around it. However, like Anderson, to me there’s a wondrous handmade charm to it. As someone with highly retro sensibilities, I completely understand the aesthetic reasons for Anderson’s decision, though I realize it also makes a very hard job harder.

Fantastic Mr Fox Gets Set Photos

However, the quotes Chris Lee was able to get go far beyond just a disagreement about the production methods, and underline just how possibly wrongheaded his decision to direct the actual animation portion of the film’s production remotely from Paris might have been. I personally would not have expected Anderson to be on hand for every single frame of film shot — I doubt that Ernest Shoedsack and/or Merian C. Cooper were around for much of the shooting of the effects footage created by Willis O’Brien in “Kong” — but they were as far as I know they were all working out of the RKO lot, at least. True, Anderson had computer technology available to him but, assuming there was no journalistic malpractice, something clearly went very wrong on the set that he was not there to deal with.

To be specific, when you have high ranking production people providing material like this:

“Honestly? Yeah. He has made our lives miserable,” the film’s director of animation, Mark Gustafson, said during a break in shooting. He gave a weary chuckle. “I probably shouldn’t say that.”

…and this…

“We avoided wild animated flourishes of fantasy,” [Art Director Nelson] Lowry said. “Normally, an animated film allows you crazy camera angles shooting through a wild landscape. Instead, this feels like a dry adult drama.”

…and especially this…

“I think he’s a little sociopathic,” cinematographer [Tristan] Oliver said. “I think he’s a little O.C.D. Contact with people disturbs him. This way, he can spend an entire day locked inside an empty room with a computer. He’s a bit like the Wizard of Oz. Behind the curtain.”

…to a major newspaper, you have a real problem.

These are no rank amateurs or show business neophytes, even if they are effects folks. Oliver, whose comment Anderson somewhat understandably said “kind of crosses the line,” in particular is a veteran of Nick Park’s Ardman animation and worked on all of the “Wallace & Gromit” films as first a camera operator and later the DP. (For the record, however, I’m not sure Oliver understands the meaning of the word “sociopathic,” which indicates a complete lack of any conscience or compassion — that doesn’t seem to be exactly what he means.)

All of this leads to a question. I personally consider Anderson one of the two or three best American directors now working, give or take a Sidney Lumet, I know Paris is the city of lights and all, and clearly Anderson j’etaimes the place, which I get. But what’s London, chopped liver?

UPDATE: Variety‘s Todd McCarthy has a mostly positive early review which touches on some of the matters brought up above.

ANOTHER UPDATE: As pointed out in the comments, DP Tristan Oliver has basically charged Chris Lee and the L.A. Times with journalistic malpractice. You can reads his remarks to a Wes Anderson fan site here. Were his words really twisted by Lee or is this a case of after-the-fact damage control? Could be either, neither, or both. To paraphrase Will Rogers, all I know I read online.

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