Category: Actresses (Page 110 of 258)

Your morning assignments

The week of Tarantino continues with some left over material from last night. First, I implore you to watch the terrific video below from cinephile critic turned cinephile critic/filmmaker Matt Zoeller Seitz on the verbiage of Tarantino. (You can read more about his thinking at his link above.) (H/t Jeffrey Wells.)

Actually, there’s even more because Matt and the very cool Keith Uhlich of the very cool blog, The House Next Door, had a very lengthy and in-depth discussion about Tarantino back in 2007 that’s well worth your time if you care about the state of this sort of movie making. It’s funny that I agree more with Keith on Tarantino (well, I’m not at all sure about the spirituality), but I certainly wouldn’t choose the same list of favorite critics, which makes it even more intriguing to me. I guess I should finish reading it, then?

On a somewhat related topic, Anne Thompson considers this moment in the career of Tarantino’s mogul benefactor, Harvey W.

Felicia Day sings her way into the hearts of geeks everywhere

Fans of Joss Whedon are probably familiar with Felicia Day. The self-proclaimed fangirl appeared as a Chosen One on the final season of “Buffy the Vampire Slayer,” co-starred in his hit web musical “Dr. Horrible’s Sing-Along Blog,” and recently guest starred on the lost episode of “Dollhouse.” What you may not know, however, is that Day is actually a bit of an auteur herself, writing and starring in her own web series about a group of MMORPG-obsessed geeks called “The Guild.”

Those who haven’t yet seen the first two seasons can do so (for free) on the official site, but she’s also just put out a music video (cleverly titled “Do You Want to Date My Avatar”) in conjunction with the upcoming premiere of Season Three, and suffice it to say, it’s worth checking out. Day has already proven that she can sing, but I’ll be damned if she doesn’t sound even better on this hilarious geek anthem. Is a music career in her future, or will some smart TV executive finally give the redheaded beauty her due? The answer to that is still very much in the air, but for the time being, I’m perfectly happy with swooning over her by whatever means possible.

Superheroes and megabucks

Just another day in movietown.

* Sony has signed James Vanderbilt, who wrote the first draft of “Spiderman 4” (now twice rewritten), to pen an additional two Spidey screenplays. Writer Michael Fleming speculates that the studio wants to speed up production as the S-man is their most reliable vehicle and a Julie Taymor’s Broadway musical with music by Bono and the Edge, is in fairly deep financial doo-doo long before opening night. (Of course, there is another way Sony could make money — come up with something new…nah.) Vanderbilt, by the way, is also the writer behind Brian Fincher’s cinephile favorite, “Zodiac.”

I personally wonder if Maguire, Kirsten Dunst, and Sam Raimi have much interest in doing any more films after the next one, which I suspect is a bit of a Mulligan for the sporadically entertaining and occasionally embarrassing mess that was the last Spiderman film. Also, Maguire is older than he looks (34 as of last June), and time is running out. A forty-something actor might work for Iron Man, but for Spidey, it’s kind of another story.

* Speaking of young superheroes, or in this case super anti-heroes, Variety tells us that Lionsgate has purchased the domestic rights to Matthew Vaughn’s comic-book adaptation “Kick-Ass,” with a cast that includes Nicolas Cage, Aaron Johnson, Chloe Moretz and Christopher Mintz-Plasse. Anne Thompson is very much on board and notes the strategy of indies using Comic-Con to get distribution. She also has a video from the con which doesn’t want to play properly on my computer. In addition, those who understand finances better than I might be able to draw something kind of line between and this Nikki Finke item having to do with the sale of some stock by Lionsgate Bigwig Joe Drake.

* Ignoring my fervent prayers, “G.I. Joe” is doing very well abroad. At least people who complain about the dumbing down of America will have to realize it’s not just us. Misery loves company.

“District 9” inspires some box office awe (updated)

Shout it from the rooftops. The trades have revealed that an essentially South African film with a previously unknown, first-time feature director, a cast of complete unknowns, and an R-rating is not only #1 at this week’s highly competitive box office, it significantly over-performed even the highest expectations I mentioned last time. Forget those more optimistic numbers of $25 million+, it has earned an extra-profitable estimated $37 million.

As Nikki Finke points out, the outstanding showing of “District 9” is especially mighty considering that the film’s budget was only an extremely modest by sci-fi action standards $30 million, not including its no doubt pricey viral and not-so-viral marketing campaign. Oh, and it got excellent reviews, too and that’s supposed to be box office poison because movie goers hate writers or something. Weird. I don’t think Peter Jackson’s name in the credits alone can do that alone, though I’m sure it didn’t hurt.

Meanwhile, wither “G.I. Joe: The Rise of Cobra“? Stephen Sommers PG-13 sci-fi actioner with a budget of $170 million, not including its no doubt expensive damage-control oriented marketing campaign, met its expectations with an estimated $22.5 million, dropping 59% — fairly typical for this kind of Hollywood product. It should be noted, however that “Joe” was on 4,007 screens, while “District 9” was at 3,049. In terms of per screen averages, it amounts to a real trouncing with Blomkamp’s film netting a huge $12,135 per screen as compared to the unofficial “Team America” remake’s merely solid $5,615 average. (Okay, I admit it. It’s not right, but I haven’t even seen this movie and I really have it in for it; I was provoked.)

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The strange weekend of five

This is one interesting movie August we’re in. In fact, if you go to a mutliplex this weekend and can’t find anything that interests you, then you probably don’t belong anywhere near a contemporary movie theater. At this point in film history, things just don’t get that much more diverse, and more interesting, than the new films on offer this weekend.

* Anyone with a geek bone in their body has heard and/or seen a fair amount about the movie box office prognosticators expect to end the reign of “G.I. Joe: The Rise of Cobra.” By most accounts a thoughtful yet violent/bloody R-rated science fiction actioner from first-time feature director Neill Blomkamp, “District 9” benefits from a lot of really good buzz, truly outstanding reviews, and a very high-profile variant of a viral campaign; the “humans only” signs have been up at bus-stops in Los Angeles for what seems like years and the film’s association with executive producer Peter Jackson won’t hurt. (Just like the filmgoers who probably still believe that Quentin Tarantino directed “Hostel” and have no clue who Eli Roth is, many casual movie fans will give Jackson the credit/blame on this.)

On the possible downside: there are no stars or recognizable faces and the film’s setting of South Africa might put off some people. We Americans, I fear, can be an obnoxiously xenophobic bunch at times. However, this is a new age we’re in (I think) and certainly this film, about space aliens being oppressed by us literally xenophobic humans, has a much easier to grasp premise than “Serenity,” the last star-free but excitement-heavy, well-reviewed science fiction film to rely on viral marketing, and the virus is far more virulent this time. So, the projections of a take of somewhere in the $20 millions or more for Sony offered both by Variety‘s Pamela McClintock and The Hollywood Reporter‘s ever-jolly Carl DiOrio, who guesses it at at least $25 million, make some sense.

Eric Bana and Rachel McAdams
* Unless they’re seeing someone very special and very insistent, the young males who will be flocking to “District 9” likely won’t be seeing this week’s promising box office hopeful, even though it’s also science fiction, though obviously of a very different sort. Warner’s “The Time Traveler’s Wife” is unusual for the movies I write about here in that I’ve actually seen this one before its release date, and you can read all about my opinion of the film over at the link. Suffice it to say that fantastical romantic melodrama is not generating a whole bunch of critical excitement, though that underwhelming 37% RT rating is not so much a collective groan as a chorus of “meh.”

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