Category: Actresses (Page 64 of 258)

Monday movie news

The movie side of the show biz world might not have anything of the magnitude of the big news from Team Coco to talk about today, but there’s plenty of interesting borderline-almost-news to mention in an ironic way…

* I don’t know whether there’s some sort of game of managing expectations going on or if interest really is limited to younger males and no one else, but I’m starting to hear rumblings that “Kick-Ass” is not expected to kick ass do hugely well at the box office this Friday. If so, then Matthew Vaughn has got to be one of the least lucky talented mainstream directors ever after generating so much excitement with his film, at least in the fanboy realms.

Kick-Ass

My main rumbling comes via this Playlist piece which alleges that nothing has been done to expand the interest in the film beyond those who’ve never heard of the comic book.  Literally speaking, that’s not true because I’d never heard of the comic book before hearing about Vaughn’s film of it, though I am certainly a member of the Geek American community. The main thrust of the piece itself is actually on the possibly stronger hopes for “Scott Pilgrim vs. The World” which, as a commenter offers, does seem to have more cross-gender appeal. It also has a well known star and the comic genius Edgar Wright going for it. We’ll see.

In any case, Vaughn appears to be doing what all prudent directors do before their next big film comes out, lining up the next gig just in case the current film really does tank. This story is a glorified rumor, but it does look possible that Vaughn’s next gig might involve a gangster/science fiction vampire comic book written by, of all people, controversial English talk show host and film geek, Jonathan Ross who is leaving the BBC because of a scandal caused, I kid you not, by tasteless prank phone calls. Here, he’d get a promotion. In any case, I’ll always remember him for “The Incredibly Strange Film Show.”

* Never fear, however, “Iron Man 2” will be here in 26 days. Of course it’ll do ridiculously well, but I remember some naysayers just before the first movie came out. Seems all those good reviews were a bit worrisome and even smart people like Michael Phillips and A.O. Scott, if memory serves, were worried the movie was a little too good to make monster bucks.

Myrna Loy* The biggest news in my personal movie world is word via the Los Angeles Times of the resurrection of the statue that classic-era superstar Myrna Loy (“The Thin Man,” “The Best Years of Our Lives”) posed for when she was just a young student and which graced the front of my alma mater for decades. As the News Editor of the Venice High Oarsman (“Rowing, Not Drifting”) back in the pre-pre-pre-pre MySpace era, I was on the Myrna-vandalism beat. This gladdens my heart. A picture, however, would have been nice. Maybe I’ll get to work on that a bit later.

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“Date Night” ahead (right now) in titanic weekend box-office photo-finish (updated)

It’s important to remember that the weekend estimates I report every week on these box office wrap-ups are just that, estimates.  “Actuals” come out later in the week and, if there’s a really significant difference I might mention it, but there rarely is.

Nevertheless, considering that I’m writing this on Sunday afternoon, West coast time based on material that was largely written some hours ago, there’s obviously some element of the unknowable, and when the week’s top two films are separated in the current estimates by only $225,000, a reversal is far more likely than usual. However, thank God, this isn’t an election and “almost” here counts even more than in horseshoes and about the same as in hang grenades. For the studios and the filmmakers, the point is to make money, not so much to best the competition.

Tina Fey and Steve Carrell in And, in that sense we certainly had more than one winner this weekend as the non-3-D, and therefore more reasonably priced, “Date Night” most certainly won the day in terms of keisters-in-cushions and also, as of now, cash in hand.  As per the mighty Box Office Mojo weekend estimate chart, the Steve Carrell/Tina Fey zany action rom-com earned an estimated $27.1 million for Fox while being seen on about 425 fewer screens than its main competition. Also, since it’s budget was a relatively modest $55 million, not counting the film’s heavy promotion, it will go into the black relatively quickly as well, which should please the bean counters.

UPDATE: Late last night, Nikki Finke had word that the estimates for Sunday’s take were looking significantly off. Today, THR/Jolly Carl DiOrio tell us the current revised estimates has “Titans” collecting $26.7 million and “Date Night” a lower than previously mentioned $25.2. These are, still, however, estimates and not “actuals.” Nevertheless, they are likely more accurate.

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Howard’s End

Featuring Emma Thompson, Helena Bonham Carter, Anthony Hopkins, and a heartbreaking Vanessa Redgrave, 1992’s “Howard’s End” was the third (and most star-studded) adaptation of a novel by E.M. Forster from the famed triumvirate of producer Ismail Merchant, Oscar-winning writer Ruth Prawer Jhabvala, and director James Ivory. With the Merchant-Ivory team’s famed talent for exquisite visuals amidst extravagant period settings, it’s also perfect fodder for a Criterion two-disc DVD set.

Thompson and Bonham Carter are sisters Margaret and Helen Schlegel, affluent early 20th century intellectuals who find themselves embarrassingly intertwined with the crassly wealthy Wilcox family. Eventually, the ailing matriarch, Mrs. Wilcox (Redgrave), starts up an intense friendship with the older and more stable Schlegel sister, Margaret. After her death, wry Margaret unexpectedly falls for and marries Mr. Wilcox (Hopkins), not knowing the ardent capitalist had chosen to ignore a death-bed bequest of enormous import. Meanwhile, the younger Helen’s overweening sympathy for a sensitive clerk with intellectual aspirations (Samuel West) inadvertently threatens everyone’s happiness and proves, once again, that it’s money that matters most. A morally complex blend of complex comedy and drama with florid tragedy reminiscent of another great literary adaptation, George Stevens’ “A Place in the Sun,” “Howard’s End” is everything you could ask for in thoughtful period entertainment, with some highly nuanced ideas from novelist Forster on the interplay of economics and emotional life. Critics sometimes downplay the “tasteful” Merchant-Ivory-Jhabvala films, but this hugely entertaining winner of three Academy Awards, including a Best Actress statue for Emma Thompson, gives Oscar bait a good name.

Click to buy “Howard’s End”

A trailer for a Sunday morning/afternoon: “The Kids Are All Right”

It’s a little sad that what appears to be a really entertaining social comedy with two genuine superstars, a leading man who deserves to be one, and another possible emerging young superstar or two is considered an “indie” flick. Anyhow, “The Kids Are All Right” brings us staid and affluent same-sex parents Annette Bening and Julianne Moore. They find their peace interrupted when Mark Ruffalo turns up as the fun-loving, ne’er do well biological father of their teenage children, played by Mia Wasikowska of “Alice in Wonderland” and Josh Hutcherson of “The Bridge to Terabithia” and the upcoming “Red Dawn” remake.

Except for the lesbian part and the artificial insemination part, this could easily have been an “A” Paramount production in 1951 with, say, Jean Arthur and Rosalind Russell as the two mommies, Robert Mitchum as the bio-dad, and Liz Taylor and maybe Dean Stockwell as the kids. Oh, well.

A big h/t to Dustin Knowles of Pajiba. And, yeah, if I was going to have two mommies, Ms. Bening and Ms. Moore would work for me, too.

Also, of course, this isn’t the first movie with this title, give or take and “L” and a space.

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.

afterlife585

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