Category: Actors (Page 129 of 343)

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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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.”

Today’s secret word is “$”

On an otherwise slow movie news day, Variety‘s Michael Fleming is on  a small role, and the theme is filthy lucre.

* Writers Aline Brosh McKenna and Simon Kinberg have obtained $2 million from Paramount on the basis of a pitch for an unnamed upcoming project to be produced by J.J. Abrams’ Bad Robot. Especially in this climate, it’s a surprisingly tidy sum. It sort of brings back to mind the Hollywood of a couple of decades back when the studios were handing out sometimes surprisingly generous money for options to even relatively unknown writers on the basis of a pitch — though McKenna and Kinberg are far from unknown and the Abrams imprimatur surely didn’t hurt.

No details about the story have emerged but Kinberg is associated with lighthearted action pieces, like the upcoming “Sherlock Holmes,” while McKenna has worked on lighthearted feminine-friendly material like “The Devil Wears Prada.”

A Fistful of Dollars

* “The Art of Making Money” is an adaptation of journalist Jason Kersten’s nonfiction account of the career of counterfeiter Art Williams. Director D.J. Caruso (“Disturbia,” “Red Eye”) and Junior James Kirk Chris Pine are “in negotiations” with Paramount for the pic.

* Meanwhile at Fox, any action comedy headlined by Tom Cruise and Cameron Diaz, to be directed by James Mangold (“3:10 to Yuma“), co-written by busy master scribe Scott Frank  (“The Lookout” “Get Shorty,” “Minority Report,” etc.) and backed up by all-star supporting is likely to be a pricey proposition. You’d think they could afford a better title than “Knight & Day.”

Trumbo

Trumbo

23 years after his death, Dalton Trumbo (“Johnny Got His Gun”) remains among the best-known screenwriters of all time. Ironically, that’s largely because much of his best work was done in secret. Jailed in 1950 and then blacklisted for his refusal to discuss his constitutionally protected membership in the Communist Party, Trumbo survived by writing prodigiously, using pseudonyms and “fronts” until 1960, when director Otto Preminger and actor-producer Kirk Douglas openly placed his name in the credits for “Exodus” and “Spartacus” and sounded the first death knell of the Hollywood blacklist.

Drawn partly from a play by the writer’s son, Christopher Trumbo, and featured on PBS’s “American Masters,” this documentary combines interviews with Trumbo’s family and friends, including stars Kirk Douglas and Dustin Hoffman, and dramatic interpretations of his writing by a long list of acting heavyweights such as Joan Allen, Michael Douglas, Liam Neeson, and Donald Sutherland. On the down side, director Peter Askin plays up Trumbo’s heroism while playing down his political extremism and indulges in some pretentious and annoying cinematic tics, including shooting the actors looking on pensively while their occasionally overdone readings play on the soundtrack. Still, when Askin captures the writer’s unsentimental and often humorous essence — as in Nathan Lane’s wry reading of an ingenious letter to the teenage Christopher Trumbo on the joys of masturbation and Paul Giamatti’s testy renditions of Trumbo’s broadsides at his local phone company — this is a highly engaging summary of the life and work of a singular figure in mid-century movie history.

Click to buy “Trumbo”

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