Category: External Movies (Page 218 of 336)

“Cloudy” with a certainty of poor news for new releases

Cloudy With a Chance of Meatballs

Never bet against family entertainment, especially when it’s in 3-D and generating strong word of mouth. “Cloudy with a Chance of Meatballs” declined a very small 19% and collected an estimated $24.6 million over the weekend, which puts it at a $60 million “cume” or thereabouts according to Bruce McNary of Variety. Not bad.

I’m not one one bit surprised that the new Bruce Willis science-fiction tale, “Surrogates,” didn’t get the over-fluffed $20+ million that was expected, despite the help of costar Radha Mitchell. The movie hasn’t generated much excitement, is getting “meh” to bad reviews, and the appeal of older stars like Willis just doesn’t seem to be that powerful at the box office these days.  Does Bruce Willis even register that much with people under thirty? If it wasn’t for the success of the last “Die Hard” flick, I think this would have done significantly less than the non-terrible estimated $15 million it actually netted for the #2 slot. On the other hand, the film cost $80 million. How much of that was Willis’s salary?

Fame

The remake of Alan Parker’s “Fame” got mostly bad reviews, and the box office wasn’t too exciting either with a mere $10 million estimated. Though the film apparently attracted a youngish audience — a possible reflection of the film being perceived as not very good since it’s a well known property to we mid-lifers — apparently most of them were taken up with other films. The week’s other major new release, the Dennis Quaid sci-fi horror entry, “Pandorum,” did a predictably awful estimated $4.4 million.

In more positive news, “The Informant!” held better than expected with roughly $6.9 million in the #4 spot and a mere 33% decline according to the Box Office Mojo chart. An interesting real life story, a funny trailer, an imaginative director, and more youngish star power may still count for something.

The week’s highest per screen average was documentary superstar Michael Moore’s latest, “Capitalism: A Love Story,” earning about $60,000 each in four theaters before going wide next week. The French language biopic, “Coco Before Chanel” starring Audrey Tautou (“Amelie”), earned a stylish estimated $35,000 average on five screens.

coco_before_chanel02

Roman Polanski arrested in Switzerland

Roman Polanski in 1978

I’ll be getting to the weekend box office fairly soon but we have some breaking news today. Kind of a bombshell, actually.

As if to fill the void left by the conclusion of the Phil Specter case, a long-running Hollywood legal drama of some real significance has reemerged this morning and is almost certain to be filling the gossip and news pages for some time. As I write this, arguably one of one of the world’s five or so greatest living directors, whose resume includes “Chinatown,” “Rosemary’s Baby,” 2002’s “The Pianist” and the psychological horror classics “Repulsion” and “The Tenant,” is under arrest at age 76 and may be extradited back to L.A. county. This one could get messy and makes yet another painful and extraordinary chapter in the life of a director and occasional actor who escaped the Holocaust as a child, became an internationally famous filmmaker during the sixties, lost his pregnant actress wife in one of the most brutal murder rampages in U.S. history, and then nearly lost everything else over a inexcusable drunken encounter nearly a decade later.

Younger readers may not be aware how, in 1978, 45 year-old director Roman Polanski was arrested after having sex and sharing champagne and part of a Quaalude — a tranquilizer and de riguer party drug of the time — with 13 year-old Samantha Geimer. The victim’s name has only become public knowledge in recent years when, now middle-aged, she has come out publicly to forgive Polanski and call for a conclusion to the extremely muddy and muddled case which, however you come down on it, has more sides to it than you are likely aware of.

Indeed, though you may be hearing now end of moral grandstanding this week, this is no simple case. Even as someone who literally grew up with the matter and with Polanski’s career, I really knew very little about it before seeing and reviewing Marina Zenovich’s outstanding film about the matter: “Roman Polanski: Wanted and Desired.” As Zenovich said in the film’s commentary, Polanski was both a perpetrator and a victim of a publicity hungry judge who used to case for his own ends and drew out the case needlessly. The real heroes of her film were, ironically, both the prosecutor and the defense attorneys in the case. Yes, Virginia, there may be two honest lawyers in greater Los Angeles.

Anyhow, there are any number of questions at this point, including how did Polanski’s lawyers not know what the Swiss authorities might do? (Polanski has been able to live peacefully in France because the U.S.-France extradition treaty does not cover his particular crime and he is highly regarded there. He has carefully avoided being seen in countries such as England where the laws are different.) Nikki Finke calls it a double-cross.

This case is huge and has already been condemned by French Culture Minister Frederic Mitterrand who is in communication with President Nicolas Sarkozy. No doubt, even as we speak poor Robert Gibbs is probably trying to figure what President Obama’s answer should be when he’s asked about it. Maybe he can use the whole “ongoing legal matter” construction to avoid it. That’s what I’d try to do.

Whatever happens, we certainly won’t be avoiding the case here. Stay tuned.

Movie Moments for Me #2

Another self-indulgent clip. This one is from 1944’s “The Miracle of Morgan’s Creek. Preston Sturges was arguably the first really well-known writer-director in Hollywood, and he was in the position of writing a film that almost certainly influenced “Juno” — only the self-imposed censorship of the time meant you couldn’t openly discuss sex in any way in an American film, nor could you say the word “pregnant” and the shame attached to premarital pregnancies was exponentially greater than today.

“Miracle” stars Betty Hutton as an irrepressible young woman who takes the matter of raising wartime morale among America’s troops a bit too personally and, with the help of some spiked punch, winds up married to a man who name and face she can’t quite remember. Her ensuing pregnancy makes matters a bit worse, especially for her long-suffering, long-time friend, Norville Jones (Eddie Bracken), whose entirely unrequited love for Trudy Kockenlocker is suddenly assumed to be highly requited by everyone, especially her father, Police Constable Edmund Kockenlocker (the utterly awesome William Demerest).

And here’s our first introduction to Ms. Kockenlocker. No wonder poor Norville’s so in love.

Movie moments for me #1

I’ve worked pretty hard this week, especially on my piece on the fascinating documentary, “We Live in Public,” which I hope people actually read. In any case, I thought I’d permit myself the luxury this weekend of posting clips for no other reason than I love them. (Not that I don’t often sometimes find interesting excuses for doing just that.)

The scene below is from Bob Fosse’s “All That Jazz” — a lovely, sweet moment from a rather dark, though highly entertaining, movie.

By the way, it’s hardly a secret that Fosse is one of my favorite directors. If you’d like to know more about the man behind “All That Jazz,” “Cabaret,” “Lenny,” and my personal cinematic hobby horse, “Sweet Charity,” etc., you might want to take a look at the Fossethon I put together some time ago at my personal blog, Forward to Yesterday. Also, thanks to Damian Arlyn who reminded of this clip by posting it on Facebook yesterday.

A remake for its time? Probably.

Yep, another story about a remake, this time it’s “A Star is Born” which, depending on how you reckon it, will either be the fourth or fifth version of the story of a woman who begins a relationship with an established star, only to eclipse him in the fame game as he gradually self-destructs. The confusion here is that, in 1934, George Cukor directed a film called “What Price Hollywood?” which was apparently close enough to William Wellman’s 1938 “A Star is Born” that RKO considered suing producer David O. Selznick. Just to make matters confusing, Selznick had offered the “Star is Born” gig to Cukor, who turned it down — but who eventually did direct the most famous version of the story in 1954, which I guess means that you could argue that he’s another example of a great director remaking an earlier hit.

Not that any of it matters. There’s a reason this one keeps getting pulled out of mothballs. Consider the clip below from that last version with Judy Garland and James Mason. Does the drunken behavior of Mason as declining superstar Norman Maine remind you of anyone in show business you’ve been hearing about lately around the water cooler? Several people? Everyone?

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