Just yesterday, via Anne Thompson, I had another look at the “G.I Joe” trailer in which, at about 0:37, a certain international landmark gets destroyed…
And that reminded me of this near-masterpiece, which managed a more creative fate for la Tour Eiffel. (The key moment in this video is at 4:17… and it’s in French!)
Gustave Eiffel’s creation also meets a less than kind fate in 1965’s “The Great Race,” which I rewatched this morning for the first time in decades for an upcoming feature you’ll be reading about right here. So, I took that as a sign — of what I’m not sure — but close enough for blogging. Anyhow, if you know of any other Eiffel Tower destruction movies, please do give me a shout in comments…
A couple of items hot off the action film presses…
* As per Cinematical, writer Peter Morgan has been hired to work on the as-yet-untitled 23rd (!) James Bond film. If the name rings a bell, he’s the playwright and screenwriter best known for the slam-bang action fests “Frost/Nixon” and “The Queen.” (Yeah, I know, but they cut out the lengthy sequence where Helen Mirren as Queen Elizabeth II dons a cat suit and tears a bunch of foreign agents limb from limb as she foils a plot to blow up Buckingham Palace before tea and crumpets with the French premier.)
It’s actually not a big change in strategy. Both “Casino Royale” and “Quantum of Solace” were written by the team of Robert Wade and Neal Purvis with a “polish” from Oscar-winning veteran scribe Paul Haggis (“Crash“, “Million Dollar Baby“). After what many perceived as a bit of a let down on “Quantum” both in terms of story and direction, apparently the idea was to get a fresh Oscar-nominated, if not actually Oscar-winning, writer on board. So, no need to worry that “Bond 23” will be an earnest examination of the legal and ethical issues created by giving random blokes a license to kill people — though I’d pay to see that. As usual, interesting choices are being bandied about for the Bondian director’s chair, but in 22 films, for better or worse, a director with a strong personal vision has yet to be hired, so no reason to think the Bond producers will break the pattern now.
* Rumors have been flying all over the place about a supposed disastrous screening of “G.I. Joe” — a movie that wasn’t exactly being awaited with baited breath at least in my corner of the geeksphere. Anyhow, the upshot is that helmer Stephen Sommers, best known as the writer-director behind the Mummy films, or other heads may or may not roll or be diminished creatively.
For insight, I hereby direct you to Anne Thompson‘s refreshingly FACT-ual approach to the matter. Looking at the trailer, I can’t help thinking that this movie has somehow already been made….
I’m trying to get out of the house this evening for a change, so I hope you’ll forgive me if I jump the gun slightly on this week’s b.o. preview. That means we won’t be hearing from Bullz-Eye critics this week or some of my other usual suspects, though updates are not impossible if something earth shattering grabs my attention.
Anyhow, we’ve got an interesting weekend shaping up as two superstar vehicles, starring a total of three veteran megastars, do battle with yet another ultra-powerful Pixar/Disney feature, “Up,” and a genuine sleeper, “The Hangover.” In fact, the modest, no-star, R-rated comedy surprised almost everyone last week by narrowly defeating the wildly popular PG Pixar film.
As the Hollywood Reporter‘s Carl DiOrio reminds us, the well-received comedy did about twice as well as it was expected to do (and it was already expected to do quite well), grabbing $45 million on its opening weekend and additionally doing strong business during the week, when some of us adults decide to hit the movies. Variety says largely the same thing.
Still, there is one potential powerhouse this week in what, again per DiOrio, turns out to be the third version of the NYC subway thriller, “The Taking of Pelham 123,” first seen in 1974 with Walter Matthau and Robert Shaw, and then again in a 1998 TV movie with Edward James Olmos and Vincent D’Onofrio. This a fifty-something superstar two-for-one package in which Denzel Washington’s transit nerd will face off against badass hijacker John Travolta, backed up by a very strong supporting cast led by James Gandolfini, who seems to be getting the best reviews of anyone connected with the film.
Indeed, the critical consensus on this one is not especially kind, perhaps hurt by the recent resurgence of interest/respect for the original film by those of us in the Filmgeek-American community. Critics can’t help comparing it to the compelling and blackly humorous original. The Onion‘s always interesting Nathan Rabin has hard words for “L.A. Confidential” screenwriter Brian Helgeland (stepping into the shoes of Peter Stone, one of the wittiest screen-scribes of his day), hyper-maximalist director Tony Scott, and especially the former Vinnie Barbarino:
John Travolta’s wildly successful post-comeback crusade to become synonymous with crap continues with…Tony Scott’s bracingly awful remake/desecration of the classic ‘70s thriller. The miscalculations begin with Travolta’s distractingly Tetris-shaped facial hair—long rectangular sideburns paired with a geometric Fu Manchu—and extend to every facet of the production. Cursed with following in the outsized footsteps of world-class heavy Robert Shaw, Travolta devours the scenery; his performance is 0% inspiration, 100% perspiration.
Nevertheless, a picture like this is not made or broken by reviews, though word of mouth (or word of Blackberry and text message or cell phone) is another story. It’s expected to do well, and possibly hit the #2 spot, but I wouldn’t bet on it doing any better. On the other hand, it’s got Denzel Washington, who should never be discounted. (And, for pity’s sake, read my new Bullz-Eye feature on the actor’s back catalog: “Washington Insiders.” Plug, plug, plug.)
Expectations are more modest for a new family vehicle for Eddie Murphy from Nickelodeon, “Imagine That.” The film pairs Murphy in a comedic father-daughter situation with young Yara Shahidi. Between a rather soft premise and that Nickelodeon imprimatur, especially with a sub-meh 36% on RT, it’s hard to imagine this one having much appeal outside of pre-tween girls, die-hard Eddie fans, and families who’ve already seen “Up” five times. Still, the family mojo is always good for something. Let’s see if our nation’s dutiful parents push this one into the top five or six… [Update: I also note, via our own now-linked to review by David Medsker, that the premise is somewhat simliar to both “Up” (which I haven’t seen yet) and the Adam Sandler vehicle “Bedtime Stories” (which I will likely never see, not matter how accurate Dave is when he says that Keri Russell “oozes cuteness”…if she oozes anything, that would be it). Though Dave has some mild kind words for the Murphy film, I don’t think that it helps with its’ appeal much, either.]
That’s pretty much it except for three interesting films in limited release. For starters, we have a well-reviewed (though not ecstatically so), moody science fiction film called “Moon” from Duncan Jones — who can’t escape being David Bowie‘s son — with Sam Rockwell as a cloned astronaut and Kevin Spacey as the voice of a HAL-9000/Marvin-the-Paranoid-Android-esque ship’s computer. Film geeks will also be curious about a new film from filmic godfather Francis Ford Coppola, “Tetro” which has been getting a mixed response. (Currently 50% at RT — that’s pretty precisely mixed.) It’s opening just on the coasts.
It’s also only opening in L.A. and New York, but look to be hearing more about the new RT 95 percenter documentary “Food, Inc.“, on the hot topic of the politics of what we’re all eating, as the year wears on. It’s also got a great trailer — the notional tomatoes are on me.
It seems like we’ve been waiting to see John Hillcoat’s adaptation of Cormac McCarthy’s “The Road” forever, but it seems to have been granted that rarest of commodities — a Weinstein Company release date that will stick — and in honor of this uncommon occurrence, there’s a brand spankin’ new theatrical trailer for you to lay your eyeballs on:
“The Road” won’t arrive in theaters until October 16 — but in the meantime, be sure to follow Bullz-Eye’s coverage!
Friday’s big release is Tony Scott’s remake of a relatively obscure, but beloved, seventies suspense-action flick, “The Taking of Pelham 1-2-3.” I haven’t seen the new version, but the original is notable for surprisingly large amounts of comedy given the deadly subject matter, and one of the most authentic recreations on film of what it feels like to be in New York City. It’s also one of a handful of action/tough guy films to feature the unlikely but always effective presence of Walter Matthau.
But while the original had Matthau, the new one has another actor who, in a very different way, is also in a class by himself: Denzel Washington. To celebrate the career of the charismatic, old-school movie star and true master thespian (and an personal favorite of mine), Bullz-Eye is covering ten films from the actor’s past you may not be familiar with. Even playing in a frequently tasteless, shtick-based, comedy as a complete unknown, he had class and hard-earned talent to boot. Read “Washington Insiders” here.
And the most fun part of working on a feature like this? It’s discovering surprising moments from a star you thought you already knew. Like this moment, featuring a bit of New Orleans/Professor Longhair style piano blues and some reggae Bob Dylan. I don’t think that’s him playing piano, but I believe he’s actually singing there, and not badly.
As the Hollywood Reporter‘s 
