Category: External Movies (Page 263 of 336)

Harlem Blues

With NPR launching its jazz page, A Blog Supreme (the title is a play on John Coltrane’s signature recording), I thought for the next week or so we’d highlight some great jazz moments from classic, or at least interesting, movies. For whatever reason, some of those may involve beautiful women.

Today, we’ll lead off with a scene from one of the movies we’ll be highlighting in an upcoming Bullz-Eye feature on Denzel Washington. This is Cynda Williams in my favorite sequence from Spike Lee’s beautiful, problematic follow-up to “Do the Right Thing,” 1990’s “Mo’ Better Blues.” You’ll see some very familiar faces pretending to play instruments, but that’s really Cynda’s voice we’re hearing. (You’ll also see those fake musicians uttering brief Italian phrases via the magic of cinema — you take what the the great god YouTube has to offer.)

There is No Such Thing as a Free Movie

There is absolutely no doubt that the way we watch movies is changing, and changing fast. The film business has managed to avoid the wholesale slaughter of the music industry because of the higher bandwidth needed to convey a movie and the importance (to some of us, anyway) of picture and sound quality. Still, it’s only a matter of time before movies become easily available online, and distinctions between computers and TV sets as entertainment delivery systems is breaking down rapidly.

Hulu has become huge overnight by breaking down the barrier for TV shows and a limited but interesting selection of films despite sometimes erratic technical performance issues (at least on my iMac). Disney/ABC, Universal/NBC and, of course, the brain eating aliens are involved, though the enterprise was started by a force far more sinister and implacable: Rupert Murdoch’s NewsCorp.

Mashable’s Ben Parr today writes about Epix, which he describes as a joint venture of Paramount, Lionsgate, and MGM. Parr was allowed an early look at the site and, as a film fanboy, it sounds pretty great. If I understand it correctly, you would get the service as part of your cable TV or satellite package and would then be able to choose from a Hulu-like library to view either on television or via computer. If you’re into this stuff, you really should read for yourself. For me, one interesting aspect is that it’s unclear how deep that library would be, both because of marketing issues and because of the various confusing deals that have been struck over the years for MGM’s huge back catalog. (If you’re a masochist or just dig this stuff, here’s a Wikipedia taste.)

It all sounds great to me, except, just as there may be with Hulu, much as I enjoy the service it provides, it strikes me that there could be someĀ anti-trust issues here. Or not. I’m only a lawyer in my mother’s fantasies. Cord Bloomquist, however, has a good rundown of the situation vis a vis Hulu from a libertarian perspective, but I’m no libertarian when it comes to megabusiness. I’m really more of a latte-sipping Hollywood (well, Anaheim) librul who thinks that media consolidation is perhaps the single most serious issue underlying all the other issues we deal with, so I’m a bit suspicious of all the studios getting into bed together for these kind of things.

Short version: Bob the liberal is wary, but Bob the movie geek is intrigued. And, let’s face it, one way or another, this the direction we’re going in. I’d just like to see more flowers blooming.

…And the Winner (Really) Is….

No, this is not a reference to last night’s Tonys. True, the movie-inspired “Billy Elliot” did take the night, continuing a “trend” for B-way musicals that go back to the classic film era, and it’s also true that host Neil Patrick Harris is a winner both for his show-closing/show-stopping musical summation, and because Empire Online has announced a couple of movie gigs for the still up-and-coming Doogie Horrible. (h/t Whedonesque).

However, it seems that the battle for the #1 box office spot discussed on my last post actually had a somewhat different result than we thought. It’s important to remember that those numbers I talk about on Sunday are really only estimates, though they are treated by press-sters as just this side of gospel. The upshot is Variety is reporting that both “The Hangover” and “Up” did better than expected business yesterday, but the former did just a little bit better better business, if you follow me. Sayeth the big V’s Pamela Mcclintock:

Final figures will show that “Hangover” grossed $45 million from 3,269 runs. “Up” should finish at $44.3 million to $44.4 million from 3,818 theaters.

I don’t suppose it really matters that much in the final analysis; nobody’s going broke here. (Well, I can’t speak for degenerate gamblers. Someone, somewhere, just lost a big bet.)

In other box office news I didn’t have time for yesterday, “Angels and Demons” cracked the $400 million mark over the weekend worldwide, sayeth the Finke. “Terminator Salvation” is not doing so badly overseas, actually. “Land of the Lost,” however, may be doing even less well than expected. Critics, you may step up your gloating.

Sunday Morning Movie Moment: “The Maltese Falcon” and More

Just five folks, having a little talk.

If that suave, portly fellow with the deep voice and the little short one with the German accent bargaining with the ultra-cynical Bogie and poor Mary Astor look familiar, here’s a great, great post about two of Hollywood’s greatest character actors from the mysterious Self-Styled Siren, and from “Hollywood Canteen,” a World War II propaganda cameo-fest from Warner Brothers, another clip with the famed pair having some fun at the expense of their respective images (the good stuff starts at about 0:30).

“…Fresh insights into the collaborative effort of filmmaking…”

I’ve been going back and forth all day about how to deal, if at all, with the more sensational/embarrassing aspects of the ongoing story of David Carradine’s death.

I’m not doing a gossip column here. Ethical issues aside, on a day to day basis, I have little interest in it. However, there are times when I’m just as fascinated by the more dramatic details of other people’s lives as anyone, particularly if they were interesting people, and David Carradine certainly qualified. In any case, if you’re a cinephile and you deny being a bit of a voyeur, you’re probably no fun to spend time with.

Also, how can anyone ignore a possible auto-erotic asphyxiation, a morality tale about what can happen when self-described recovering alcoholics apparently return to drinking, and even an apparent suspicion of the possibility of foul play? Considering my linking to the stories above, I’d be a huge hypocrite to deny my own interest in this stuff, but as Will Harris’ memorial piece from the morning of reminds us, this was a human being and there’s a good chance I might well find myself dying in some embarrassing way. (Perhaps choking on a pastrami sandwich, clad only boxers and a mustard-stained Astro-Boy t-shirt, while watching “Once More With Feeling” for the 200th time.)

In any case, I don’t have much to add to it except for one more link, from close to where I live in the heart of American Cinephilia. It’s writer Chris Willman‘s account of a post-screening Q&A involving Carradine and legendary cinematographer Haskell Wexler — an important filmmaker and a complex dude in his own right — gone seriously weird. I don’t know how I missed hearing about this event when it actually happened. I’ve been to hundreds of such post-screening discussions and while things have occasionally gotten slightly prickly under the surface when former coworkers reunite to discuss eventful productions, I’ve never seen anything rivaling this. But, as the putative host of the event, a screening of Hal Ashby’s epic biopic, “Bound for Glory,” implied in the comment I lifted for the title of this post, it does kind of a give us a peak inside the hairier side of picture-making, which may have been just a bit hairier in the 1970s.

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