Category: External Movies (Page 154 of 336)

Monday movie bits and pieces

Just another one of those days filled with sequels and other things no one really needs.

* Armando Iannucci, the “In the Loop” guy, on his screenwriting Oscar chances:

“Our puppy Bramble won last night’s puppy training course. This gives us the momentum we need going into the Oscars.”

* Movie bloggers seem to agree that Ian McShane of “Deadwood” fame can only help the next “Pirates of the Caribbean 4” while playing the legendary real-life pirate Blackbeard. Insert c-cks-cker joke here.

swearengen

* An English Jihadi comedy to screen at SXSW. Here’s hoping the documentary “American Grindhouse” covers its (huge) subject well, because I’ll want to see that one.

* Nikki Finke informs us Harvey Weinstein signed a DVD deal with Sony. I know, your world will never be the same. Just be grateful I don’t pass along all her news about whose at which agency now.

* Whilst promoting Kevin Smith’s “Cop Out,” Bruce Willis is telling people that there’ll be a “Die Hard 5” and that it’ll should go “worldwide.”

* What do you do when you find out your best friend’s wife is cheating on him? That’s the knotty question that’ll be examined in an upcoming Ron Howard comedy starring Vince Vaughn that just attracted Kevin James, as per Screencrave’s Krystal Clark. Intriguingly, the script is by a writer more associated with dramas.

* Speaking of Mr. Smith, AICN’s Merrick reveals that it appears that Seann William Scott will star in his upcoming hockey comedy. Merrick also has the Warren Zevon/Mitch Albom song it’s based on, “Hit Somebody.”

* Coming eventually, maybe: Leonardo DiCaprio in a “‘Mystic River’ meets ‘Taken‘ storyline.”

* Glenn Kenny on people who don’t know the man personally referring to a certain director as “Marty”:

My general policy with movie people is to address them as “Mr.” or “Ms.” until explicitly instructed otherwise. I’m not trying to lord it over anybody with this etiquette tip. I’m just saying that my mother raised me with some fucking manners…I’ve always loved the phrase “fucking manners,” haven’t you?

Another awards non-shocker: “The Hurt Locker” takes BAFTAs

Jeremy Renner in Really, the headline here tells the tale about last night’s awards from the English equivalent of our Academy of Motion Picture Arts and Sciences. “The Hurt Locker” won six awards from the Orange British Academy Film Awards (which makes me wonder what other colours British film awards are available in). As described by Indiewire’s Peter Knegt — who also kindly provides a complete list of the awards — they include Best Picture, a directing award for Kathryn Bigelow, as well as for Mark Boal’s screenplay, editing, photography, and sound —  the better part of the whole behind-the-camera British enchilada. And, no, I don’t think that sounds very appetizing, either. Not quite all of it, though. For example, “The Young Victoria” got the awards that usually go to period dramas, costumes and make-up.

Perhaps almost as predictably, the main acting awards, however, did go to more local talent. Specifically Colin Firth won for his performance as a man in mourning in “A Single Man” and Carey Mulligan for her teen learning some hard, yet kind of fun, life lessons in “An Education.” Still, the BAFTAs bowed to standard practice by giving the supporting actor awards to Mo’Nique of “Precious” and Christoph Waltz of “Inglourious Basterds,” yet again. (Also truish-to-form, Mo’Nique wasn’t there.)

Best British film went to the highly praised “Fish Tank,” which happens to feature “Basterd” secret weapon Michael Fassbender opposite Kierston Wareing and newcomer Katie Jarvis. As for the lastest from the onetime Mr. Kathryn Bigelow, “Avatar,” it met the once traditional fate of well-regarded science fiction movies at the Oscars, and only got a Best Visual Effects and Production Design awards but, of course, is only making a double gazillion dollars. Aaah. Geeks may be take some solace, however, in learning that “Outstanding Debut By A British Writer, Director Or Producer” went to Duncan Jones for his intriguing feature debut, “Moon,” a small-scale space tale like they used to make.

Sam Rockwell in

“Shutter Island” hits big against soft competition

Leonardo DiCarprio in The latest from Martin Scorsese and Leonardo DiCaprio performed even better than the experts seemed to expect this weekend. The horror-flavored thriller Dennis Lehane adaptation, “Shutter Island,” earned a very healthy estimated $40 million, about $10-15 million more than predicted. This will surprise some because the film was delayed from its original release date last year, which is usually considered not a very good sign. However, as Nikki Finke points out, it turns out to have been a very smart move by Paramount. To me, it’s pretty clear that the general artistic verdict on the film indicates that it wasn’t really Oscar material in any case, but the studio apparently saw the combination of well-known names that the audience trusts with the crime and horror genres could deliver some very nice bucks — if it debuted on a weekend with little in the way of fresh competition.

Taking a look at our handy-dandy Box Office Mojo chart, the competition really wasn’t very strong. Last week’s big winner, the critically drubbed “Valentine’s Day,” took a near nose dive and dropped by 69.5% apparently on word that it wasn’t very good and that V-day was last weekend. Still, $17.16 isn’t terrible box office for a second weekend.

Last weekend’s silver medalist, “Percy Jackson and the Olympians: The Lightning Thief,” dropped by a more standard 51% percent, but $15.3 million was low enough to put into the fourth place spot. That’s just below, guess what, “Avatar,” still holding nicely with $16.1 million in its tenth week. Meanwhile, the cool-looking but apparently very creatively troubled “The Wolfman” dropped a pretty bad 68.7% in its second weekend to earn an unspectacular $9.8 million and change.

By far the biggest film this week in terms of per-screen average this week belonged to a thriller that is topical in more ways than one. “The Ghost Writer” deals with a writer working on a memoir by a former British Prime Minister accused of war crimes connected to torture, and it’s directed by Roman Polanski. That was controversy/notoriety enough for a solid $44,775 on its four screens. It will be adding a few more theaters next week.

theghostwriterpic6

<a href=”http://www.bullz-eye.com/mguide/reviews_2010/the_wolfman.htm” target=”_blank”><img class=”photo_right” src=”http://www.bullz-eye.com/mguide/review_images/2010/the_wolfman/the_wolfman_5.jpg” border=”0″ alt=”Benecio del Toro in ” width=”218″ height=”138″ /></a>

Some not very newsy awards news (updated)

The Writers Guild and the Sound Editors gave out their awards last night and it’s safe to say that, winners aside, no one’s world was too terribly rocked.

Journalist-turned-screenwriter Mark Boal was rewarded for his hard-earned real-world experience as an embedded reporter with a Best Original Screenplay nod for “The Hurt Locker.” In another completely unsurprising award, the well-liked and respected Jason Reitman was similarly rewarded for his critically acclaimed work on the adult-aimed topical comedy, “Up in the Air.” The documentary category wasn’t much of a surprise either, with the muckraking “The Cove” picking up yet another award.

This isn’t quite on the level of a statistical study, but it’s worth noting that, for the last couple of years at least, the WGA awards and the Oscars have been lining up 100% in the writing categories, so Oscar betters should take note.  This is a bit of a blow to any fans of Quentin Tarantino“Pulp Fiction” screenplay and the writers tend to be a bit more openminded about offbeat films than Oscar voters as a whole. who might have been hoping for some Oscar wins, as Best Original Screenplay has been “his” category in the sense that his only Oscar win so far has been for his

Still, older and/or less geeky fans of old-school post-war (as in WWII) realism are likely impressed by the real-life underpinnings of Boal’s work and Kathryn Bigelow’s film is just edgy enough, while not marred in the minds of some by being a “fun” war movie, and “Inglourious Basterds” is definitely fun. It’s also controversial to some degree, perhaps not the best combination if all you want out of a movie is award wins.

James Gandolfini and Mimi Kennedy in In the adapted screenplay category, I personally wouldn’t have minded seeing the award go to the brilliant and scabrous “In the Loop,” but that film was less widely seen and it’s humor might be bit too nasty (in a good, cleansing way) and British for some.

[UPDATE: Aren’t you people supposed to correct me when I write complete nonsense? If I had bothered to check a bit more carefully this morning before I wrote this, I would have noted/remembered that “Basterds” was not nominated for a Writers Guild award and therefore might have somewhat better Oscar screenplay chances than I initially thought. The same applies to “In the Loop.” These scripts were not eligible under the WGA’s rather arcane rules which also disqualified such worthy films as “An Education.” If you’re curious about the reasons why, Steve Pond, via Anne Thompson, had a partial explanation back in January. Anyhow, thanks to Anne Thompson, whose post on this showed me the error of my ways, or whatever. We now resume our regularly scheduled blog post.]

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An uplighting Friday night movie news dump (updated)

It’s kind of a slow movie news day, but we do have some items that all have a sort of poignant yet upbeat feeling to them with a united theme of love and death: perhaps the things in the world that give life its meaning.

* It’s official: Quentin Tarantino has bought himself a movie theater. Specifically, the New Beverly Cinema where I and countless other L.A. cinemaniacs first encountered many of the greatest movies of all time and where, more recently, I had a grand time meeting some of the folks behind “Inglourious Basterds.” This all comes courtesy of L.A. cinephile extraordinaire Dennis Cozzalio, who explains how word of Tarantino’s involvement, which preceded the sad and unexpected death of  Sherman Torgan, became known. This one makes me all misty.

UPDATE: CHUD-man Devin Faraci has more, as it turns out. I wasn’t even sure he lived out here. (The bar at the Yarrow, located conveniently to where most of the press screenings are, is probably my fondest memory of my one hectic Sundance. Good beer, yes, but I practically lived on their cheeseburgers and coffee.)

* Roger Ebert‘s further reflections on the moving Esquire piece from earlier in the week. Nice to know he might not be “dying in increments” any more than you and I might be.

* RIP Kathyrn Grayson. Her operatic voice makes her singing something of an acquired taste for non-opera lovers like myself, but Ms. Grayson made it a taste worth acquiring with solid acting chops and a darned amazing voice in countless MGM musicals. Unfortunately, the gods of YouTube aren’t providing anything usable from her best and sexiest film, 1953’s “Kiss Me Kate.” Instead I found this fascinating moment from the patriotic 1943 wartime propaganda musical, “Thousands Cheer.” This is probably not Pat Buchanan‘s favorite movie moment, but it’s the kind of patriotism I have no problem supporting.

http://www.imdb.com/title/tt0045963/

Glenn Kenny has more, and he’s right:

She was charming, she was graceful, she had the voice of an angel, and—not too put too fine a point on it or come off as loutish or anything—she was supes hot, in a way that still retains its impact for contemporary sensibilities.

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