Category: External Entertainment (Page 69 of 513)

A full trailer with “True Grit,” and choppy editing

After last week’s very nice teaser trailer for the Coen Brothers version of Charles Portis’s “True Grit,” we have the full trailer right here. It’s longer, there’s more plot and some nice comic business between Matt Damon and Jeff Bridges. Also, it looks like it’s going to be a bit more violent than the relatively graphic — but still somehow G-rated — 1969 version. What a surprise.

This trailer feels a bit rushed, as if they were trying to fit in too much. It’s probably a good sign, however, that they have a lot of good stuff to fit in. As both an admirer of the Coens and a fan of old school Westerns, I’m even more stoked than average about this brutal little Christmas present.

H/t /Film.

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Mad Men 4.11 – Too Little, Too Late

When I saw that this week’s episode was entitled “Chinese Wall,” I found myself overwhelmed by a sudden wave of deja vu. “Now, wait a minute,” I thought. “I know damned well that phrase has been utilized before, because I posted the video for Philip Bailey’s ‘Walking on a Chinese Wall’ when it happened.” And, indeed, that was true: Faye made the reference back in Episode 4.9.

If you’re not familiar with the term, it’s an expression which, according to the never-fallible Wikipedia, means “an information barrier implemented within a firm to separate and isolate persons who make investment decisions from persons who are privy to undisclosed material information which may influence those decisions.” In this case, the wall in question has been constructed by Roger, and he’s put everyone else on the other side of it.

And, now, on with the episode!

Hey, look, Peggy’s hanging with the lesbian from Life and her pals, including the guy who pissed her off with his writings a few episodes back. I guess all is forgiven now that he’s asking permission to quote her, since she immediately brings him back to her pad (I was disappointed, though, that Peggy’s reference to her roommate didn’t result in an appearance from Carla Gallo), and a good night evolves into an even better morning. We’re seeing a whole new Peggy, people!

Mad Men - Ken Cosgrove

Ray Wise in the house! Ken Cosgrove and his fiancee are having dinner with her parents – yep, Mr. Wise is her dad – when he gets word that Lucky Strike is moving out of business with Sterling Cooper Draper Pryce. As you can imagine, this information scares the heck out of him…so much so, in fact, that he rushes out of dinner and into the waiting room at the maternity ward, where Pete is waiting for Trudy to have their baby. Pete’s immediately on the phone to Don, and although he interrupts his makeout session with Faye to take the call, the topic of conversation instantly puts a damper on his libido. The next thing you know, everyone who’s anyone – minus Lane, of course, though it’s acknowledged that he’s been duly informed – is at the office, ready to pounce on Roger the second he walks in. He claims it’s an impossibility and immediately calls Lee, except we know from his comments that he’s clearly not talking to him.

Don heads back to his place and immediately starts drinking, and you know that ain’t a good sign. He acknowledges that he’s more or less dreaded this possibility for quite some time, but although Faye tries to remind him of how valuable a player he is, Don dismisses her level of concern, saying, “I’m not at that point yet.” Clearly, he’s not going to go down without a fight. Pete’s father-in-law, meanwhile, is almost immediately dismissive of any chance of the firm’s survival, basically saying, “Ah, well, you had your fun, now back to the real world.”

Should I feel sympathetic for Roger? Well, I did, at least a little bit. It’s not his fault that Lucky Strike decided to pull out, and I can’t blame him for not wanting to admit the loss to the firm, but at the same time, he’s clearly getting in over his head with this chicanery, getting a highly warranted smackdown from Joan for keeping his mouth shut when something could’ve been done to save the situation. After she once again relents and lets him swing by her pad, they share a sweet embrace, but even though he’s pretty pitiful when he departs from the premises, she’s seriously disappointed the next day by the fact that he’s continuing to weave his web of lies, and the awkwardness between them is palpable. I don’t think she’d betray him to them, mostly because it’s not like they could save the account at this point, anyway, but his actions are putting her job in jeopardy, too, and I think it’s pretty well established how much she enjoys her niche at the firm. For his part, Roger seems to have been temporarily swayed by the arrival of his book. Maybe he’ll be inspired to become the ad man he once was…?

Mad Men - Peggy

After Bert and Don give the State of the Union address, the feeling on the floor is that everything’s more or less under control, but Don’s not pulling any punches when he sits his team down. The best moment, though, came when it was just him and Peggy. They’ve definitely got their own special relationship now…if, uh, not quite as special as the one she had last night, which has put her in a stellar mood. Unfortunately, it’s pretty transparent to everyone around her, which results in Stan being an Alpha Male to the Nth degree. What a jackass that guy is. Still, even his minor-league attempt at getting revenge on her for her rebuffing of his advances didn’t do any damage: it takes more than a little lipstick on the teeth to stop the creative force that is Peggy Olson!

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Boardwalk Empire 1.3 – Feet of Clay

So where were we? Oh, right: the blood-covered guy in the woods.

The lone gunshot victim is being hustled into the emergency room, having somehow managed to survive for several days in the woods. How he managed to do this, however, remains a mystery…or, at least, it does to Eli, anyway. “He’s fat?” suggests Eli. “He’s insulated? I don’t know. How should I know? I’m not a doctor.” Nucky’s pissed off about the whole situation, but he’s particularly angry at Jimmy…and, really, can you blame him? Nucky tells Eli to take care of the situation, and he certainly gives it his best shot, but attempts to smother the poor bastard with a pillow fail, though it’s not clear whether it’s because Eli’s a bad smotherer or if the guy just has really good lungs. Either way, it’s a minor miracle that Eli manages to quickly set aside the pillow just before Van Alden and his boys swing in to the question the fellow.

Catching the tail end of Nucky’s charitable phone call served as yet another piece of evidence that he’s had his own issues with a child at some point in his past. As ever, it was nice to see as much of Lucy’s body as possible – little did we know how much more we’d be getting later – but when she started talking about the possibility of having a baby, I thought the way she said “mommy” was highly disconcerting. I know some guys get off on baby talk, but hearing her talk that way while half naked and seconds away from giving a blow job, all I could say was, “Ew.”

Wow, I knew Nucky was a big shot, but when you’re big enough to get Eddie Cantor to play your private party, you’re really something. Eli pops ’round to tell Nucky about the situation at the hospital, but when Nucky tries to give him shit for not having stayed at the hospital to protect their patient, Eli – otherwise distracted by Cantor’s goo-goo-googly eyes, basically says, “This ain’t my problem, go be pissed at Jimmy,” and to echo my statement from a few paragraphs back, can you really blame him?

Speaking of Jimmy, when they put the focus on his fascination with how his wife could keep their son still long enough to take his picture, followed by him flipping through the photo album, I thought it was simply to offer a sense of how depressed he was with the lost time between him and his family and how different he and his wife have become. I didn’t anticipate that it would lead to that scene with Jimmy and Tommy ending up at the photographer’s studio. I can see why he would’ve been suspicious of the photographer at first, based on the scandalous shot of his wife baring her shoulder, but once Jimmy had met the man and his wife and seen how comfortable Tommy was around both of them…I dunno, I guess I just thought it would dissipate somewhat. Instead, he seemed to get even more jealous, though part of that could simply be because he’s dealing with so many emotions that he just doesn’t know what to feel.

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Weekend box office: “The Social Network” kicks off Oscar season with a low-key victory; “Let Me In” in isolation

Not that a brainy drama about the founding of a popular web site really should do ultra-massive business, but there were those expecting huge numbers for “The Social Network” and, as reported here on Thursday, the film was expected to make at least $25 million. However, as we peruse the Box Office Mojo chart, we see that it did a respectable but far from immense $23 million and, as everyone is noting, it’s success seems to be concentrated in urban areas. Not a surprise. Still, for those fascinated by the Jessie Eisenberg vs. Michael Cera Jewish dweeb v. Goyish geek showdown, this is a big win for Team Jessie, I suppose. Mazeltov.  Overall, it seems likely that the collaboration between between the powerhouse team of director David Fincher and writer Aaron Sorkin’s place as the film-to-beat, awards-wise, is set and that should mean some very strong legs.

The week’s #2 film was probably a pleasant surprise for Zack Snyder and Warners. “Legend of the Guardians: The Owls of Ga’Hoole” did well in matinees, probably benefiting from little competition for the always crucial family dollar. The film dropped only 32.6% from its lackluster opening for an estimate of $10.8 million and change. Oliver Stone’s third-place “Wall Street: Money Never Sleeps” suffered a more usual drop of just under 47% for a neither-bullish-nor-bearish estimated week 2 take of $10.1 million for Rupert Murdoch’s Fox.

“Easy A,” a cheaply made and therefore very profitable mini-hit comedy, and the outright bomb, “You Again,” earned estimates of $7 million and a skosh above $5.5 at fouth and fifth place, respectively. Then, we get to this week’s two horror releases.

“Case 39” — a horror flick aimed at adults which has generated no excitement anywhere, with anyone, is thought to have made about $5.35 million. Still, that makes them a whole $50,000 ahead of this week’s real box office unfortunate.

People will be picking apart the really not good $5.3 million estimated performance for Overture of the solidly made, beautifully acted horror/coming-of-age remake “Let Me In” for weeks. I personally think that both Anne Thompson and her box-office guy Anthony D’Allesandro are partially on the right track. The idea that it fell in the cracks between the art-house and horror world has some real validity. As I’ve often noted, horror fans these days seem to demand hard-edged scares often amounting to simulated trauma, and “Let Me In” pretty obviously isn’t going to that place. Real art house patrons might turn up their noses, preferring the “real” film, “Let the Right One In,” from Sweden and non-horror fans might avoid it simply because it’s horror. Some may even assume it’s in some way like “Twilight.”

There’s also the issue of R-rating which D’Allesandro termed a “stake through the heart.” Indeed, both films will likely become favorites of young people who see them on home video and I don’t think that’s a bad thing. I usually dislike parents taking young kids to “hard R”-rated films, but despite a couple of scenes of strong blood, some ingeniously implied ultra-violence, and some morally complex ideas that would probably benefit from a bit of parent-child discussion, I certainly wouldn’t think less of parents allowing mature tweens to see either film. I’m sure many will on DVD and Blu-Ray.

The other good news for Matt Reeves, however, is that his film only cost $20 million. It’s also possible there will be some award nominations here and there. It’s just a shame that, given their ages, neither Chloe Moretz or Kodi Smit-McPhee are likely to be nominated in the Best Actor or Actress Oscar category, and there’s really no justification at all to say that either of them are in “supporting” roles. It’s completely their movie.

LET ME IN

Der Glenn Beck’s Face — a mash-up for a Sunday morning

Glenn Beck, Donald Duck — one is a brainless cartoon character who’s always in the wrong and had wacky misadventures, and the other is Donald Duck. (Bet you saw that one coming a mile away.)

I was going to post this later, but as my source for this, Roger Ebert, tweets, better to put it up sooner before the Disney lawyers get to it — though I guess some believe there may be possible extra added first amendment protection as it’s overtly political speech. Anyhow, nice use of some great classic-era cartoons from the Walt Disney factory at its peak. You knew “The Three Caballeros” had to get in there at some point. Wonder what they’ll make of this at Breitbart’s Big Hollywood?

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