Author: Bob Westal (Page 4 of 265)

Shane Black and “Iron Man 3” — a non-story worth mentioning

You guys have no idea how incredibly tired I am of stories about actors, directors, or writers “circling,” “eying” or even negotiating a given project. Still, sometimes an entertainment writer’s gotta do what an entertainment writer’s gotta do.

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Tonight’s big story a possible example of what Hollywood always loves: the big comeback. In this case, Shane Black, the onetime highest paid scriptwriter in Hollywood, creator of the “Lethal Weapon” franchise at age 24, and writer-director of the charming, critically praised, highly imperfect, 2005 culty money-loser, “Kiss Kiss, Bang Bang,” is reportedly in the running to write and direct “Iron Man 3,” obviously one of the bigger projects being tossed around right now.

Despite what seemed like a charmed career early on, Black’s life has never been easy. Moreover, his comeback since 2005 has been a mixed bag at best. Aside from the box office failure of his nevertheless widely liked directorial debut, he’s also had what appears to be the mother of all bad break-ups, the kind that gets you into TMZ, and probably the less I say about that, the better for everyone. Of course, the fact that “Kiss Kiss” starred Robert Downey, Jr. at a time when his own career and reputation badly needed a boost may not have hurt him getting this new gig. The movie made a pittance, but in terms of restoring Downey’s then very shaky credibility in Hollywood, it was priceless. Also, the notoriously penny-pinching Marvel may like the idea of using a talented filmmaker in need of a big break in terms of those negotiations.

I hope it happens and that it goes well. Despite the bad press in 2009, Black is certainly one of the better liked people in the geekier quarters of Hollywood, makes a great, unusually candid interview subject, and, though he has yet to create his true masterpiece, is clearly a talented and bright creator. I’m hoping this one takes.

After the flip, a moment or two of flawed genius from “Kiss Kiss Bang Bang.” Continue reading »

Two trailers

Today’s theme is teen romance, attempted humor and single-word title division.

Disney’s “Prom” — via La Finke — gets some socially positive points for attempting to integrate one or two remarkably real-looking, non-beautiful teens amidst the usual parade of dreamboats, but I still wonder whether anyone over the age of 14 will actually want to see this. The trailer makes me think of an adult’s idea of what a teen movie should be, which of course is exactly what it is.

And now for something completely different in the way of teen romantic comedy. Critical claims of originality aside, “Submarine” clearly doesn’t mind paying homage to the 60s New Wave and “The 400 Blows” in particular as it adopts a novel by Joe Dunthorne. The plot sounds like “The Virginity Hit” minus the crassness, technology, and stupid Americans. Mixing in a bit of English deadpan with the Andersonian-esque quirk doesn’t look bad either.

The writer-director is Richard Ayoade, known to some of you as the deadpan Moss of “The IT Crowd.” The on-screen adults are Sally Hawkins, Noah Taylor, and Paddy Considine.

H/t /Film.

How did The History Channel miss this one?

I don’t know how it took more than 70 years for someone to come up with this. Director Richard Raaphorst of the Netherlands gives us the story how the Nazi war machine literally built its fighting forces, “Frankenstein’s Army.” Warning: contains some relatively mild black and white WWII gruesomeness with some rather brilliantly disturbing historical resonances.

H/t the Film Drunk.

Now, sing with me fellow Elvis Costello fans: “Frankenstein’s Army is here to stay; Frankenstein’s Army are on the way…”

OMG! Brad Bird giving up animation under extreme duress!!! I repeat, “OMG!!!!”

The first 4.5 minutes of this awards video of Brad Bird’s extremely well deserved Windsor McKay Award from the Annies is pretty much your standard career retrospective about the former “Simpsons” creative turned writer/director of the instant classics, “The Iron Giant,” “The Incredibles,” and “Ratatouille.” In the second half, Bird himself appears. He’s presumably somewhere near the set of his live-action debut, the next “Mission: Impossible” installment, which will star Tom Cruise and Simon Pegg, among others.

The weird part is that he says he’s giving up animation forever, but then it gets weirder and more worrisome.

H/t Mike Fleming.

RIP Tura Satana

I was very sad to learn yesterday of the death at age 73 of a true grindhouse legend and an early icon of female empowerment. I had the good fortune of having a couple of longish chats with Tura Satana, the legendary star of Russ Meyer’s 1965 grindhouse tour de force, “Faster, Pussycat! Kill! Kill!” and other light classics of exploitation cinema. We both appeared in my friend Cody Jarrett’s women-in-prison opus, “Sugarboxx,” though she actually got to speak. She enjoyed talking about the old days and I certainly didn’t mind listening.

One-quarter Japanese, Filipino, Cheyenne-Indian, and Scots-Irish, her story included a childhood stay in Manzanar, one of the internment camps where all Japanese-Americans on the West coast were illegally forced to spend World War II. She was a victim of a childhood rape who, she said, eventually tracked down all her attackers. That anger would later find an outlet in her work, to say the least.

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Her performing career began with notoriety as an exotic dancer and martial artist. A gig posing erotically for photographs by aging silent comedy superstar Harold Lloyd led Lloyd to suggest a career in movies. She eventually made a brief appearance in Billy Wilder’s “Irma La Douce” and that was followed by her bone-crunching interpretation as the villainous/anti-heroic Varla in Russ Meyer’s insane mix of sexual innuendo and, for the time, shocking violence. She would likely have appeared in later Meyer films, but she was unwilling to do the kind of nudity that was his usual calling card. A certain amount of tragedy followed her later in life and her 1970s career was cut short by a bullet wound, her children, and a second career as a nurse.

Tura wasn’t Dame Judi Dench, but then Dame Judi is no Tura Satana. She was one very cool, very brassy woman who held an audience’s attention in a way that was entirely unique to her and entirely unforgettable.

For more, please do check out some of the links at MUBI and also Kimberly Lindberg’s really great 2007 tribute and bio. After the flip, I have a few key moments of Satana.

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