Category: Actors (Page 81 of 343)

A tribute to Dennis Hopper

It’s good to celebrate people while they’re still here, and that certainly applies to Dennis Hopper, a man who has made his mark upon the movies like very few people in film history. From his start as a young ensemble player on innumerable television shows and some very fifties era big Hollywood productions like “Rebel without a Cause,” “Giant,” and “Gunfight at the O.K. Corral” (he’s at 199 credits on IMDb), to his emergence as a controversial counterculture star and filmmaker in the the late sixties, to becoming one of Hollywood’s best character actors with his beyond memorable roles in films like “Apocalypse Now,” “Blue Velvet,” “Hoosiers,” “True Romance” and numerous other films, he’s without a doubt a man to whom attention must be paid. As the director of “Easy Rider,” and the troubled but legendary “The Last Movie,” his influence on the American films of the early seventies, for both better and worse, is probably impossible to measure.

In that spirit, cinephile superstar writer and blogger turned filmmaker Matt Zoeller Seitz, formerly of The New York Times and the great group blog he founded, The House Next Door (now Slant Magazine’s official blog), has crafted the un-narrated cinema essay below for his present gig with the Museum of the Moving Image. It’s fairly long as these things go, but it is definitely worth your time.

Oh, and one thing that has been, and always will be, true about Dennis Hopper — he is most definitely not safe for work, unless, of course, you work somewhere extremely cool or extremely dangerous.

It’s your end of week movie news dump…

And I mean that in the nicest possible way.

* Champion poker player Chris Ferguson is making movies, writes Mike Fleming. He’s probably as well prepared for the business as anyone could be.

* I can’t help but think that this Anne Thompson item about two sets of brothers bidding for Miramax — one pair of them being Mira and Max’s sons, Harvey and Bob Weinstein, and the other being the wealthy Tom and Alec Gores — is somehow related to an odd claim by actor Michael Madsen. In a radio interview, the voluble and consistently amusing Madsen stated that Quentin Tarantino‘s long shelved concept for a combined “Pulp Fiction” and “Reservoir Dogs” prequel about his and John Travolta‘s characters has been revived. How? Well, it will now be a sequel and…well, you have to go over to Peter Hall’s post at Cinematical, but it also involves two pairs of siblings.

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Do I buy this? Well, it does sounds like Tarantino in that it’s kind of a doubling up of a gimmick used by a favorite director of his to overcome a similar sequel obstacle.  (If anyone out there has seen John Woo’s great 1980’s Hong Kong pistol operas, “A Better Tomorrow” and “A Better Tomorrow II,” they’ll know what I’m getting at.) Still, the whole thing has a shaggy dog story vibe to it that I suspect means we’ll never, ever see a “Vega Brothers” movie of any sort. I also get the vague feeling that it’s just possible Mr. Madsen and/or Tarantino is having us all on, as the Brits say. Still, I’m sure Mr. Tarantino’s trips to Tijuana can have a way of stimulating the imagination.

* Anne Thompson also brings up a very real issue that we Angelenos will recognize regarding the move of the Los Angeles Film Festival to Downtown L.A. L.A.’s downtown is in the middle of, I guess, a rebirth of sorts, but the issues associated with setting it there are legion. We’ll start with the exorbitant cost of parking.

* The porno “Big Lebowski” is upon us. Great production values for porn but, otherwise, I can’t say the (sex free) trailer looks in any way “good,” though I guess Tom Byron does qualify as the Jeff Bridges of the porn world. (Ron Jeremy is it’s Pacino/De Niro, I suppose.) Also, spoofs of comedies almost never work. Still, kind of gives a whole new meaning to “Achievers.”

* I’ve never heard anyone say they miss Michael Ovitz and his noxious effect on Hollywood back in the eighties and nineties. However, Nikki Finke’s lingering venom towards him fifteen years after his departure from the scene is utterly pointless.

* Could it be? An Asian-American comic headlining his own comedy and his character is named neither “Harold” nor “Kumar”? Yes, maybe. The very funny Indian-American stand-up/actor Aziz Ansari, who first came on my radar screen championing the cause of movie consumer rights, could be in the new comedy from “Zombieland” director Ruben Fleischer, writes Jeff Schneider of the Wrap.

* RIP Meinhart Raabe who has passed on at age 94. He was the Coroner of Munchkin City, so I’m not sure who’ll confirm his passing. (I’m so sorry for that, really, but I’m sure the late Mr. Raabe had a sense of humor about that kind of thing, assuming that what I wrote qualifies as something resembling humor.)

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It’s box office preview time: Carrell and Fey to clash with “Titans”

Tina Fey, Steve Carrell, and Mark Wahlberg commisserate in

Commercially speaking, the premise of Fox’s PG-13 rated “‘Date Night” seems right on the money. NBC Thursday night comedy dream team Steve Carrell and Tina Fey are a married couple with children in a humdrum relationship rut who, through a case of mistaken identity, wind up fleeing from criminals and repeatedly running into a perpetually unshirted Mark Wahlberg and other dangerous obstacles to their peace of mind.

It’s been some time since a true wide appeal mainstream comedy aimed at adults and also possibly younger comedy fans of both genders has hit the theaters. “Hot Tub Time Machine” obviously skews more than a little male and more recent films, like “She’s Out of My League,” are clearly aimed at a somewhat younger demographic. On paper, the thing seems destined to do extremely well with a potential to elicit the three words sweetest to a studio suit’s ear “four quadrant picture.”

Still, not everyone is thriller. Our own Jamey Codding found the movie a lot more entertaining in principle than in reality. Director Shawn Levy of the “Night at the Museum” franchise is getting by far the best reviews of his career over in  Rotten Tomato land, but that is not as impressive as it could be given his rather rotten critical track record and many of the critics seem to be simply praising the considerable comic skills more than the movie as a whole. As for the box office gurus, a solid but not super-dramatic opening somewhere significantly south of $30 million but probably north of $20 million is predicted by the mysterious voices in Jolly Carl DiOrio‘s ear.

Sam Worthing girds his loins for battle in Of course, the comedy faces some fierce battles ahead with more grim-faced previously released films, most especially last weekend’s top picture, Warner’s “Clash of the Titans.” Like many poorly reviewed genre pictures, it’s expected to drop off by as much as 60%. Moreover, the catcalls from a geek-heavy audience made newly picky about 3-D thanks to James Cameron‘s innovations appear to be depressing turn-out at the pricey 3-D screens. Still, even with a really big sophomore drop off, it still has a very good shot a winning a second weekend in a row, though the win could well be as ugly as Medusa herself.

Also debuting this week is a Christian-themed heart-tugger, Vivendi’s  “Letters to God.” It’s somewhere between a large limited release and a very small major release as it will be in just under 900 theaters this weekend, according to the mighty Box Office Mojo theater count. No reviews are out yet to speak of, but I noticed even the Christian user reviews on IMDb are a bit muted, noting that the acting is in a bit better than on prior films from the same team and the movie is “professional.” High praise.

Not to be glib — which is a way of me preparing you for the glibness ahead — but with the usual church-based marketing push, this one should do okay preaching to the converted. I guess, as a secular Jew, I sort of feel like I see an awful lot of essentially Christian movies, they’re just not marketed that way or noticed because about 95% of Americans are actually Christian. Not that there’s anything wrong with that.

Despite an atmospheric and a mega-creepy trailer that I love and strong trio of lead actors — Christina Ricci, Liam Neeson, and Justin Long — the death-obsessed, R-rated horror thriller from Anchor Bay, “After.Life,” is leaving the large majority of critics as cold as the grave. With only 41 screens for a film which should have a wide appeal for horror fans, an early demise seems likely for this morbid but apparently non-gory tale. I personally hope Ricci, a terrific actress who I haven’t seen in a while in anything, has better luck soon.

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Good genre-blended cheese, bad genre-blended cheese.

I love movies, that blend multiple genres. I get even more interested if one of those genres is a musical. Still, the more chances you take the more you risk ending  up with something like the genuinely godawful trailer for an insane looking mishmash called “El Dorado” over at Bloody Disgusting, which in this instance is way more disgusting in an aesthetic sense than it is bloody in a literal sense.

It’s so bad in an non-entertaining way and kind of depressing way that I can’t bring myself to inflict it on you here, despite a cast that seems to promise something genuinely unusual. That includes the final appearance of David Carradine, who surely deserved better — but then deserving better in late career films is certainly following in the footsteps of his legendary dad. Still, you can heck out the horror-musical Blues Brother tribute or whatever it is over at Mr. Disgusting’s place if you’re in the mood for a cinematic train wreck, and we all have that impulse.

Instead, I am presenting a couple of minutes sheer insanity that is actually entertaining. Ladies and gentlemen, if you think you’ve seen everything in grindhouse-era movie madness, see this and be amazed and amused. The great Bernie Casey IS “Dr. Black and Mr. Hyde.” (NSFW in a red-bandy, partial frontal nudity kind of a way.)

You’ve got to wonder what Robert Louis Stevenson would have made of that.

Midweek movie news

Getting a bit of an early start and catching up with some news we didn’t discuss yesterday.

* In terms of raw cash, the movies had a record March this year, largely thanks to those inflated, and then extra-inflated, ticket prices for “Alice in Wonderland” in 3-D. We’ll see how long this lasts.

Alice in Wonderland

* RIP Corin Redgrave, of one of the world’s great acting families.

* Reading this Nikki Finke item about what sounds like the increasingly fraught auction of MGM, it really does make it seem like a million years ago when MGM was the absolute epitome, for better and for worse, of Hollywood power.

* I’m breaking a confidence here with this super-secret Twitter leak by Jon Favreau, but it appears that Harrison Ford will be in “Cowboys and Aliens.”

* Universal, which hasn’t exactly been rolling in cash lately, has pulled the plug on “Cartel.” It would have been a remake of the fact-based Italian mafia thriller from 1993, “La Scorta,” set admidst Mexico’s drug wars. Josh Brolin was set to play the lead. Mike Fleming doesn’t specifically mention insurance or the cost of security, but considering the topic and what’s been going in throughout Mexico — apparently including Mexico City where the film was to be shot — it must have been through the roof.

* Master cinephile blogger Dennis Cozzalio checks in and brings word of some cool film fests.

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