Category: External Movies (Page 123 of 336)

RIP Lynn Redgrave (updated)

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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.

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No box office surprises: “A Nightmare on Elm Street” tops the charts; “Furry Vengeance” bites it

A Nightmare on Elm StreetI’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.

Michael Caine is

Roman Polanski can remain silent no longer!

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This week’s box office breakdown is coming up in just a bit, but first we have a bit of late breaking news…

Just when you thought it was safe to go into an Internet comment thread, Roman Polanski has issued a rather dramatic statement using the refrain, “I can remain silent no longer!” In it, he basically recapitulates the argument made in “Roman Polanski: Wanted and Desired” and, ironically, argues that the documentary is the reason his case has taken on a second wind very late in the game. Also, he tacitly admits that he committed a crime on that ill-starred night in 1977, and refers to its victim as “the victim.” Not, of course, that that changes anything, nor am I sure this is anything really new, but it’s interesting. You can read the complete text of his statement here on a New York Times pdf, via Anne Thompson.

I’ve been guilty of quibbling over what I see as the often overheated rhetoric and assumptions made about certain aspects of this case, here and elsewhere. I’d also probably write my review of the highly watchable but perhaps not so unassailable Marina Zenovich documentary which Polanski believes restarted the whole affair, a bit differently now than I did back when I wrote it. Still, I think three things are safe to say: 1. Polanski committed a very serious crime on the night in question — no matter how I might quibble over the wording and what precisely has been legally proven and not, there is no way that giving drugs to and then having sex with a thirteen year-old is not, at the very least, an act of child molestation; 2. Polanski is a great film-maker; 3. 1 and 2 have nothing to do with each other.

Having said that, I think Anne Thompson is right. Polanski did a terrible thing and has admitted as much, but is hardly a danger to anyone at this point and, given that he has now been incarcerated twice, there really should be, as she says, “a way to fix this.” You can and should make a case that wealthy people like Polanski should not be given special treatment, but I’m not convinced that a poor man on a first-offense charge would necessarily have received harsher treatment on the same charge, under similar circumstances, at the same point in time.

Ewan McGregor in Of course, me and Thompson are both moved by a rather selfish desire of our own. “The Ghost Writer” was a first-rate throwback to a caliber of straightforward craftsmanship we rarely see these days. I know that should have no bearing on how this is all worked out in the end but, still, I’d like more, if that’s possible.

Frank Loesser movie moments #2

My weekend salute to Frank Loesser’s centenary continues with two of Mr. Loesser’s more joyfully complex compositions from “Guys and Dolls” and a spotlight on the great Stubby Kaye.

Note for Elvis Costello fans: if that second song sounds extra familiar, “Sit Down, You’re Rocking the Boat” is quoted in EC’s great B-side, “Heathen Town.” Remember, the only stake you cannot raise is the one driven through your heart.

Frank Loesser centenary movie moment #1

If you were listening to NPR news this morning, you might have caught a very nice interview with Jo Sullivan Loesser, the widow of Broadway legend Frank Loesser, best known for his songs for “How to Succeed in Business Without Really Trying” and “Guys and Dolls,” a real contender for the best musical comedy score of all time.  The occasion is that this is the year Loesser, who died in 1969, would have turned 100.

So, here’s the key number from “How to Succeed,” in which young, extremely fast-rising executive and ex-window washer J. Pierrepont Finch serenades his favorite person in the world. The film version, directed by David Swift, isn’t a particularly brilliant piece of cinema in terms of taking the piece from stage to screen, but it documents the play on film rather nicely, as you’ll see below.

Of course that’s a young Robert Morse up there as Ponty. I’m not sure how widely known it is to younger viewers of “Mad Men,” but Morse is better known these days as the conniving and sagacious Bertram Cooper, until recently the senior mucky-muck of ad firm Sterling Cooper. (Any similarities between the often somber TV show and the sprightly satirical musical aren’t, of course, all that coincidental.) Morse is an even better actor today, but the above shows how skilled he was at age 35 back in 1966-7 (when he still looked about 20).  Daniel “Please don’t call me ‘Harry'” Radcliffe, who really is still practically a zygote, is going to be taking on the role shortly on Broadway, which will be interesting.

After he’s done…well, I wonder if Vincent Kartheiser (i.e., Pete Campbell) can sing at all. I’d pay to see that.

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