Author: Bob Westal (Page 236 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.

Robots and ancient critters fight to a draw

Let’s see if we can’t keep it simple. After a bit of seesawing over the weekend, it looks like we have a straight tie for domestic box office in the battle of the colon-ized sequels, at least in the domestic estimates. “Transformers: Revenge of the Fallen” and “Ice Age: Dawn of the Dinosaurs” both yielded a very healthy estimated $42.5 million. ” So says both Variety and The Hollywood Reporter. Of course, the tie will be broken when the b.o. “actuals” will yield a winner, Franken v. Coleman style, tomorrow night, however.

“Transformers” also continued its strong performance overseas and is nearing the $300 million mark for its cumulative total. As Nikki Finke points out, however, the $215 million that “Ice Age” took sets a new international record for an animated film. So everyone’s going to have no problem getting a good table at the restaurant of their choice this week.

Johnny Depp and Marion CotillardReturning to the domestic market, the strong numbers also continued in the #3 spot, with “Public Enemies” netting an estimated $26.2 million over the weekend and $41 million for the five days since it’s Wednesday opening. That assuages some of the fears about the film and proves that some adults will still leave the house to turn out for a movie with a bit of heft into it, even in the face of somewhat mixed reviews. Meanwhile “The Hangover” (which I really need to go see now), crossed the $200 million mark, proving that making audiences laugh will never hurt you, assuming they’re supposed to laugh.

In smaller release news, Kathryn Bigelow’s extremely well reviewed Iraq-set bomb disposal thriller, “The Hurt Locker,” really is starting to look like the possible break-out film among limited releases. It’s generating good word of mouth in my actual real life from actual real people and netting the best per-screen average of any film two weeks running. That’s in a minuscule nine theaters — about 4,223 fewer screens than “Transformers” — so we’ll see how it does when it expands to non-mega-metropolises.

It doesn’t seem right…

…to let Independence Day weekend go without any mention of John Wayne, especially so close to the 30th anniversary of his death in 1979. So here’s a trailer for Don Siegel’s 1976 film of “The Shootist,” probably the most fitting final film any screen icon ever got.

Directed by one of mid-century Hollywood’s greatest action directors, and with an astonishing supporting cast that includes two equally iconic classic era greats, a young man who’d become one of the dominant players in modern Hollywood, and some wonderful character actors from past western classics, “The Shootist” had a brutality and frankness that classic-ear Hollywood would never have tolerated, but really does feel something the final true classic-style Hollywood western.

People still wonder about just how westerns went from being the dominant genre to an occasional change of pace. (Innumerable dull TV westerns didn’t help; I know I avoided westerns for years because of them.) In any case, it seems that when Duke’s real-life lung cancer finally got him three years later, he kind of took westerns with him. Seems fitting.

Here’s a tribute from last June by Roger Ebert.

A 7/4 cinema civics lesson

Courtesy of Jean Arthur from “Mr. Smith Goes to Washington.”

Also, I forgot to mention it yesterday in my post about it, but “1776,” the wonderful, if flawed, and still oddly controversial musical about the writing of the Declaration of Independence, is showing tonight (10:15 est/7:15 pst) on TCM. There are worse fireworks alternatives.

Happy 7/4 — “The House I Live In”

This 1945 short subject, featuring a young Frank Sinatra striking a low-key blow for tolerance, is kind of a patriotic holiday tradition at my personal blog. It was written by Albert Maltz and features a moving title song that Sinatra would perform at political functions through the rest of his career. (It was eventually picked up Patti LaBelle.) It’s war time propaganda, and the attitude toward the Japanese might seem ironic or offensive now, but that’s the way things were. All I know for sure is that this gets me every time.

[Note: The tune Sinatra sings at a recording session in the opening is not his best. You may want to skip to about 2:40, when Frank decides to go out for a smoke.]

Today, the kid being chased at the opening would be Islamic, I think.

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