Author: Bob Westal (Page 53 of 265)

It’s weekend box office preview time: It’s “Jackass 3D” vs. Helen Mirren with a gun.

Guess which movie I’m rooting for? As usual, however, I won’t get what I want. It’s hard to imagine that the audience for “Jackass 3D” will accept seeing the gross-out-a-thon in any other format and for that reason alone the docu-comedy is expected to outgross the very strong competition from the comic book adaptation, “RED” (as in “Retired, Extremely Dangerous”) which stars Bruce Willis, Morgan Freeman, John Malkovich, Mary Louise-Parker, Karl Urban, and Fred Grandy as Gopher, I think.

Helen Mirren and John Malkovich are

Both the L.A. TimesBen Fritz and THR’s ever-jolly (despite his lousy new theme music) Carl DiOrio agree that the cleverly pitched comedy thriller, putting mostly older actors in the traditionally young-skewing over-the-top action genre, should net about $25 million. The even more cleverly framed “Jackass 3D” should, however, ride those expensive tickets, the spectacle of three dimensional bodily by-products, and the tendency of young males to see movies opening weekend, to about $30 million or more. “RED” should have the longer legs, but presumably “Jackass” has the smaller budget (medical insurance bills for the cast notwithstanding). Both will do fine.

It’s a very busy weekend in limited release. Artistically speaking, the most important films of the bunch will likely turn out to be Olivier Assayas’s mega massive and hugely praised true-life political thriller, “Carlos,” about the notorious far-left terrorist of the 1970s which you can watch all 330 minutes of this weekend in a few showings at the American Cinematheque’s Egyptian Theater in Los Angeles, and I’m tempted to. A shorter 2.5 hour cut is also available for people with less stout buttocks and/or lives to lead. On the other hand, one can never sneeze at a new movie by Clint Eastwood, and “Hereafter,” his second movie to star Matt Damon, begins to appear. This time, the octogenarian Mr. Eastwood takes on the topic of death itself.

Meanwhile, 542 theaters are going to be empty save for a few hardcore tea parties, I predict, this weekend as “I Want Your Money” opens. I’m actually sitting on an interview with director and would-be conservative answer to Michael Moore, Ray Griggs, from Comicon which will likely never see the light of day because it’s mostly quite dull and he had really nothing to say of interest to say about the movie we were actually supposed to talk about. It only got interesting when he mentioned this movie, which he dishonestly tried to pitch to me as nonpartisan. I smelled a cinema rat and, as I now know, the cast is dominated by famed Republican pols like Mike Huckabee and Newt Gringrich. However, a PR person ended the interview before I could try and figure out what the story really was.

Most conservatives would never believe me, but I don’t assume “I Want Your Money” is extremely bad because I disagree with its politics, I assume it’s extremely bad because Griggs last (apolitical) movie got a rare 0% from Rotten Tomatoes, including being slammed by the New York Post’s conservative Kyle Smith. He also couldn’t discuss “I Want Your Money” — or the other movie — with me in a straightforward fashion which doesn’t speak well for him or either movie.  To quote the old rock and roll song, sometimes bad is bad.

Thursday night trailer time: “Drive Angry” (updated)

Aka “Just Another Wednesday Night on the 405” as Nicholas Cage gets himself a few days off from hell to rescue his baby daughter from the no-doubt Satanic cult that killed his wife.

And now we know what happened to the brutal rapist, Zed (Peter Green), after Bruce Willis dispatched him in “Pulp Fiction.” He went to hell, worked hard, networked appropriately, got promoted to an executive position of some responsibility. Nice to see a guy do well. Or, maybe that’s what happened to Green’s creepy Amway selling policeman from “Go.” UPDATE: Comment deleted due to a serious case of vaguely similar looking actor confusion between the very talented and similarly creepy Peter Green and William Fichtner, as pointed out by my colleague, Jason Zingale in comments below.

H/t Bloody Disgusting.

RIP Roy Ward Baker

It’s a blissfully slow movie news week so far, after last week’s frenzy, so far (unless I missed something…I’m busy!).

In any case, it’s time to catch up on the passing last week at age 93 of one of the most reliable members of the Hammer Films horror and science fiction stable of the sixties and seventies, as well as the director of the some of the coolest British TV of that time, Roy Ward Baker. Aside from starting his career as Alfred Hitchcock‘s assistant director on the spy-comedy-suspense classic, “The Lady Vanishes,” being one of the main directors on the legendary season of “The Avengers” that featured Diana Rigg as the immortal Mrs. Emma Peel, aside from directing “A Night to Remember” (about the Titanic, but without Jack and Rose), as well as the racy “The Vampire Lovers” and the gender bending “Dr. Jeckyll and Sister Hyde,” he also made one of my favorite pieces of British film science fiction. We Americans call it “Five Millions Years to Earth” but to the rest of the world it’s….

Going back to the future re: the mysteries of casting

There’s a clip from the upcoming “Back to the Future” trilogy anniversary Blu-Ray that’s been circulating that I think is revealing. It deals with the semi-legendary firing of Eric Stoltz after a shocking five weeks of principal photography (some films are finished in three or four weeks) and his replacement by Michael J. Fox back in 1985. It’s fairly self-explanatory.

I personally don’t think “Back to the Future” is remotely a “classic,” but it is 2/3 of a great screwball comedy. (I didn’t care for the science fiction portions of the film.) However, it really looks here like it wouldn’t have worked at all with Eric Stoltz. Obviously, we’re not seeing nearly enough, but these very brief clips were obviously selected because something is just clearly off and perhaps not only Stoltz’s unfortunate hairstyle — which might not have been his selection.

The irony is here that, as much as I like and admire Michael J. Fox as an accomplished comic actor and a public figure, in terms of sheer thespian ability, I’d say Stoltz is very likely the better actor — though being an actor and being a star are not the same gig. He’s certainly shown plenty in the way of versatility over the years and you can’t say he can’t be funny, especially given his brilliant turn as the world’s most relatable heroin pusher in “Pulp Fiction.” On the other hand, Fox clearly has something that Stoltz lacks in terms of being Marty McFly. It’s not just maybe knowing his way around a straight-up gag a bit better than Stoltz might have at the time, it’s an “everyman” quality, I guess. As the deformed Rocky in Peter Bogdanovich’s “Mask,” that very same year, Stoltz had that everyman quality, but I guess with his own face, it just evaporates and that slightly sarcastic demeanor of his can’t be entirely hidden without facial prosthetics.

Anyhow, just another reminder that “best actor” and the “right actor” are not the same thing.

h/t Michael Speier.

A roundtable chat with Luke Evans and Dominic Cooper

Tamara Drewe,” the latest from the brilliantly versatile non-auteur directing genius Stephen Frears, is a relationship comedy with tragic overtones based on Posy Simmonds’ graphic novel of the same name, in turn inspired by Thomas Hardy’s 18th century novel, Far From the Madding Crowd. The film pits three not-quite-alpha males against each other for the attention of its mercurial and not always lovable title character, played by the beautiful Gemma Arterton. Two of them, fast rising up-and-comers Luke Evans and Dominic Cooper, were set to meet at L.A.’s Four Seasons with a dozen or so entertainment journalists.

It was therefore more than a little bit amusing when the two fictionally competitive actors entered wearing near identical high-end v-neck fashion undershirts and tight-fitting low-rise pants. It was an apparent complete coincidence or perhaps not so random given the popularity of this ultra-casual look among today’s mod set. In any case, Cooper compared their combined look to “a boy band.”

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Dominic Cooper made his first big splash in Alan Bennett’s Tony winning, “The History Boys,” starring in both the London and Broadway productions in 2004 and 2005. His film career, however, goes as far back as a bit part in another adaptation of a British graphic novel: the Hughes Brothers’ 2001 version of Alan Moore and Eddie Campbell’s “From Hell.” Other key parts include a memorable role as disreputable Peter Saarsgard’s business partner/buddy in “An Education” and the lovestruck movie fiance to former real-life girlfriend Amanda Seyfried in “Mamma Mia!” Notable upcoming roles include playing the part of Howard Stark (Tony’s future dad) in the largely World War II-set “Captain America: The First Avenger.” In “Tamara Drewe,” Cooper plays self-involved rock drummer Ben Sergeant of the band Swipe, with whom the gorgeous protagonist dallies for large portions of the film.

With a background in such musicals as “Avenue Q” and the “remixed” “Rent” on the London stage, Luke Evans, who plays all-around good guy and potential once-and-future Tamara Drewe paramour Andy Cobb, has found his way into a number of big budget films, including playing Apollo in “Clash of the Titans” and an upcoming role as no-less than Zeus in Tarsem Singh’s “Immortals.” He also recently completed the role of Aramis in Paul W.S. Anderson’s 3-D version of the oft-filmed “The Three Musketeers.”

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