Residents of a certain southwestern state take note…
This is obviously a newly recut trailer with that special message from the awesome Danny Trejo — not, I admit, nearly as funny/cool as the one in “Grindhouse.” On the other hand, we now have glimpses of Robert De Niro doing exploitation for pretty much the first time in his career, Steven Seagal, Michelle Rodriguez, the great Cheech Marin, Jessica Alba, Lindsay Lohan (on the comeback trail?), and “introducing Don Johnson.” Heh.
* It might be a bit meta for a lead, but I can’t help my happiness that Roger Ebert has been named person of the year by the Webby Awards people. I’ve been a big fan of his writing for a very long time and always thought he was the best straight-up writer of any of the major critics, but recently he has really emerged as an inspirational figure. He’s also been one of the most generous supporters of film writing on the web in a million different ways. It’s not really bragging when I mention that he’s thrown some small nods my way as well as some occasionally very funny e-mail responses over the years. He’s done the same for countless others.
And, if that wasn’t cool enough, the great cinephile social networking and blog site, the Auteurs also won an award. Well, done, folks.
* In actual movie news, remember that item last week when I said that Matthew Vaughn, most recently of “Kick-Ass,” was not going to be directing the next X-Men movie? If not, you can just keep right on forgetting because, it turns out, he is directing the film they’ll call “X-Men: First Class” — a prequel. I’m a big fan of Vaughn, though not so much of the X-Men films so far, so I find this intriguing. Some of you may remember, Vaughn departed from “X-Men 3” and the film that was, as per Cinema Blend, Matthew Vaughn, and I, almost definitely the worse for it.
* More really good news from my point of view, one of my favorite actors currently working, Chewitel Ejiofor, has been cast as definitely my favorite Afro-pop musician — okay, the only African musician I can think of that I’ve ever actually bought an album or CD by. Ejiofor will be starring in a biopic of the legendary maestro Fela Anikulapo Kuti in a film to be directed by Steve McQueen of “Hunger.” This film is not related, except by topic, to the musical “Fela!” which just got eleven Tony nominations. The cool part is not only that the Ejiofor, a first-generation Brit born of Nigerian parents, is the actor to play the part, he’s also apparently learning to play piano and saxophone (Kuti’s instruments, I believe) and had, we’re told, become quite good.
Bledsoe: “You won’t take the shot, it’s too risky! I’ll kill her before you…” Jack: *Blam*
Seriously, that was one of the best deaths in “24” history. Here was Toepick, trying to act all intimidating, when Jack was a mere five or six feet away. He may as well have had the gun on Toepick’s forehead. Heck, I’m pretty sure Jack has made that shot across a windy rooftop with a pea shooter in a previous season.
As Jack continues to thwart I.M. Weasel’s nefarious plans, Logan’s conversations with Allison remind me of a “Simpsons” episode – in full disclosure, it should be noted that pretty much everything reminds me of a “Simpsons” episode – where Apu is trying to get out of his arranged marriage to a family friend, and Homer suggests that he pretend that he’s married to Marge, and Bart and Lisa are his kids. When the plan continues to go wrong, Apu finally grows tired of Homer’s wacky schemes:
Apu: Is it me, or do all of your plans involve some horrible web of lies? Homer: It’s you.
Logan is Homer. Allison is Apu. Only she’s still going along with Logan’s ridiculous suggestions, even though each one is riskier and more conspicuous than the last one. Again, the woman who sent her own daughter to prison is authorizing Logan to put his assistant (official “24” nickname: Dominic, from his “Dollhouse” days) in charge of the hunt for Jack at CTU. Because that doesn’t look at all suspicious that you’re putting someone in between Jack and Chloe. Yumpin’ yiminy.
“Well, I say he does have to shoot me now! So shoot me now!”
There was a time when I hoped that they could come up with a way to take the bad guys down without getting Allison’s hands dirty, but as she continues to acquiesce, I am running out of patience with her. She’s had more than enough time to realize the grievous error in judgment she’s committed, but the problem at this point is that she can’t go back, so the web of lies expands. Still, go back to the beginning of this subplot, and think of Logan and Taylor as exes. Would you take ‘don’t ask, don’t tell’ assistance from an ex – a known liar, to boot- even when they assured you that none of it would come back to haunt you? Of course you wouldn’t, because the two of you broke up for a reason, remember? There isn’t a parallel universe on this or any other world where Allison would accept that kind of help from someone like I.M. Weasel, and I’m growing tired of seeing them continue with the ruse.
Now let’s get to the other great death in tonight’s episode. Was anyone else shocked at the remorselessness Jack showed in dispatching Starbuck? Yes, she could not be trusted, and yes, she had killed several innocent civilians in order to facilitate her escape, as well as conceal her cover. And yes, Jack is going to have hell to pay from Buffy, even though Starbuck spared his life when hatching her Plan B to go off the grid. But for someone who said he was only interested in justice, Jack killing an unarmed Starbuck seemed a bit dark, didn’t it? How about chaining her to something and having the police deal with her? If the Russians kill her before she gets processed, so be it. She had her chance to escape on Jack’s terms, and she reneged. But just deciding that she had to die…that’s not going to help his case when he sees what’s on the video file and tries to make his case for, well, overthrowing the government. It seems the smarter play would have been from the Richard Kimble playbook, where you try to keep as many people alive as possible, even when they mean you harm. You’re trying to make a big, big case; it’s a lot easier to do that when there is no blood on your hands.
Only four hours left. I traded messages with onetime “Prison Break” blogger John “You Must Suspend Disbelief” Paulsen about the perils of blogging TV shows, and he told me that when “Prison Break” went off the air, he threw a party. As much as I’ve loved watching this show and writing this silly, silly blog, I’m harboring similar plans. I am grateful to all six of you who have stuck with this blog until the very end, but I’m officially at the point where I cannot wait for this show to be over. And with any luck, our colleague Will Harris will find himself in the same room with Cherry Jones at the next TCA gathering, and I can ask him to get her to talk about how she felt about getting lobotomized mid-season. Hey, at the very least, we might get a good off-the-record story from her on the subject.
In the meantime, I leave you with this clip from the Cranberries’ first album. It seemed to fit, given that Jack put Starbuck down like a dog, but not before putting Toepick down like a rabid dog. Plius, I have been sitting here for about an hour trying to find a clever lyric as a subtitle for this week’s blog, and I’m tired, man. Cranberries it is. Good night.
Following on the deaths of Corin Redgrave and Natasha Richardson last year, another member of the Redgrave family acting dynasty has left us too soon. Lynn Redgrave has passed on at age 67 from the breast cancer that first attacked her in 2003.
Ms. Redgrave made quite a splash back in 1966 in the English hit, “Georgy Girl,” getting an Oscar nomination and a lot of worldwide attention as a zaftig “ugly duckling” who finds herself the center of attention for her handsome flat-mate (Alan Bates) and an aging millionaire (James Mason). Though she later became slender enough to play traditionally glamorous and very sexy leading ladies — and did occasionally in such roles as the ill-fated “The Happy Hooker” — she instead gravitated to a very British-style career in which she rather brilliantly covered all kinds of serious and comedic parts on stage, television, and movies. (Deep comedy fans might remember her in Woody Allen’s “Everything You Ever Wanted to Know About Sex” and the disaster movie spoof, “The Big Bus.”) While her sister, Vanessa Redgrave, was getting attention on a massive scale with her high end film and stage career and far-left politics, she appeared in a series of commercials for Weight Watchers’ products, starred in the U.S. sitcom, “House Calls” and gracefully segued into often quirky character roles like her accent-heavy Oscar-nominated turn as a housekeeper in 1998’s “Gods and Monsters.”
Though I’ve always enjoyed Ms. Redgrave’s work in all media over the years, I’ve never actually caught her signature movie role. After the flip, we have a couple of scenes that indicate this one might be worth very much renting or adding to your Netflix queue.
I’m going to keep in short and snappy, especially since things have worked pretty much they way they looked to way back on Thursday night. So, yes, as expected, the critically dissed remake/reboot of “A Nightmare on Elm Street” did scarily well for Warners, earning an estimated $32.2 million or so as detailed by Box Office Mojo. At the #2 and #3 spot are the leggy successes of the moment, Paramount/Dreamworks “How to Train Your Dragon” and Fox’s “Date Night.” They earned estimates of $10.8 and $7.6 million respectively.
In other news…Oh, for a universe where someone not named Frank Miller made “The Spirit” and cast Brendan Fraser in the part he was born to play as Will Eisner’s affable-but-tough Denny Colt. In that universe the accomplished actor wouldn’t have to take parts in apparently horrid comedies like Summit Entertainment’s “Furry Vengeance,” which climbed all the way up form 0% on Rotten Tomatoes earlier to a rocking 02% here on Sunday nigh because of a positive review from voice-in-the-wilderness Chris Hewitt. Still, the other 48 RT critics apparently spoke for the majority of filmgoers. The comedy earned a fairly pitiful estimated $6.5 million on its opening weekend to hit the #5 spot, despite plenty of publicity and screens for a wide release family film.
In the world of limited releases, the top per-screen earner was the extremely well-reviewed comedy-drama from critical favorite Nicole Holofcener and star Catherine Keener, “Please Give,” which earned a rocking estimated $25,600 or so for Sony Classics on five art-house screens over the weekend. Among other indie films doing notable business was the offbeat comic documentary, “Exit Through the Gift Shop” which earned an estimated $182,000 on 20 screens. “Harry Brown” starring Michael Caine also debuted strongly, earning an estimate $180,000 on 19 screens for Samuel Goldwyn, who is doing very well for a mogul whose been dead since 1974.
