Category: Horror Movies (Page 40 of 96)

Fat Tuesday at the movies

Do the bon temps actually roulez in Hollywood? It’s more like they just kind of unspool.

* My good friend, Zayne Reeves, was kind enough to make sure I didn’t miss this rather extraordinary Esquire piece by Chris Jones on Roger Ebert’s current life. I’ve been spending my share of time around illness myself over the last several weeks and I can’t think of a more quietly, beautifully sane way of dealing with the strange cards life can deal us. Though I’m just one among very, very many he’s shared kind words with, I’ve always felt lucky for the very brief e-mail correspondences I’ve had with Roger over the years, Now I feel luckier.

* Reviews of the fourth Martin Scorsese film to star Leonardo DiCaprio, “Shutter Island,” are starting to trickle out. Glenn Kenny has a good one. “Good” both as in “positive” and also as in “worth your time reading.”

shutter-island-2010-wallpaper

* Doug Liman will be directing a film about the 1971 Attica prison riot/revolt/uprising, now best remembered by film lovers as the chant from “Dog Day Afternoon.” It’s a story he has a personal connection with through his late father, attorney Arthur Liman. Nevertheless, the director of “Go,” “Mr. and Mrs. Smith” and “The Bourne Identity” seems to be moving in a sort of John Frankenheimer-esque direction overall, too.

* Speaking of the man who yelled “Attica! Attica!,” Al Pacino has stepped into a part recently vacated by Robert De Niro. You just can’t seem to keep those two guys apart for very long.

* Nikki Finke is having a very fat Tuesday indeed. Earlier today she reported on Carl Icahn trying to snap up Lionsgate for himself and a deal between Warner Brothers and video kiosk powerhouse Redbox, not to mention the news that the Oscars this year may not be including the original artists in the Best Song category.

There’s still more; a 3-D movie based on Erector Sets. Sure, why not. Next up: “Slinky 3-D,” I’m sure. Now, if they really want to get a rise out of the family audience, they might consider adopting Mickey Spillane’s novel, The Erection Set. From the description I just linked to, it would really be something in three-dimensions.

* Writer-director Paul Feig is reteaming with his old “Freaks and Geeks” colleague, Judd Apatow, for a film starring and cowritten by Dave Medsker’s-ultra-fave, Kristen Wiig writes Borys Kit. Let’s hope it’s better than a typical SNL skit these days.

* I started with Roger Ebert and I’ll end with an item via his must-read Twitter-feed: the Film Preservation Blogathon being organized by my old Chicago-based cinephile blogging mate, Marilyn Ferdinand. If you care about movies, this is the place. It’s also a fundraiser (a first for a blogathon, as far as I can remember) so if the idea of losing a film — any film — forever bugs you as it should, considering donating. You can do worse than starting with this post by Ferdy’s partner in good works, the Self-Styled Siren aka Farran Nehme. And, courtesy of another cinephile colleague from the days when I had time to blog about old movies all the live-long day, Greg Ferrera, we conclude with….a commercial.

“Valentine’s Day” takes big V-Day/President’s Day weekend

Jennifer Garner smashes expectations in Somewhat exceeding the optimistic predictions I noted on Friday, Garry Marshall’s critically disliked all-star ensemble romantic comedy, “Valentine’s Day,” has earned an estimated $52.41 million for the weekend, according to Box Office Mojo. According to Nikki Finke, it is also earning a very nice (and very estimated) $60 million for the WB studios over the not-yet-complete four day holiday period. According to THR/Reuters, the weekend as a whole came in ahead of last year’s President Day with $193 million, compared to $188 million in 2009. Not surprisingly consider, women were the driving force in the success of the Garry Marshall comedy.

Coming in completely on target, we have a photo-finish between the two genre-films duking it out for the #2 spot. The lengthily titled adaptation of a series of young-adult fantasy novels, “Percy Jackson & The Olympians: The Lightning Thief” from Fox and director Chris Columbus, came in slightly ahead with an estimated $31.1 million. Meanwhile, Universal’s trouble-plagued, R-rated stab at reviving it’s grimly furry monster/horror franchise, “The Wolfman,” earned roughly $30.6 million according to estimates.

Benecio del Toro and Anthony Hopkins realize it's a dog-eat-man world

As for the #4 spot, yes, it’s one more strong performance for Fox’s “Avatar.” The film dropped a minuscule 3.7% percent from last week to earn a very solid $22 million in its 9th week. Conversely, Sony’s sentimental wartime love story, “Dear John,” dropped like a relative stone, 49.8% to be exact, and came in with a less exciting $15.3 million to take fifth place in its second week. Still, with a budget of only $25 million and not $120 gazillion or whatever it was that “Avatar” cost, it’s not a terrible performance.

The #1 this week in terms of per-screen averages was “My Name is Khan,” a topical Bollywood drama being released by Fox Searchlight. It scored $15,500 per screen for an estimated $1.8 million. Another win for the growing U.S. popularity of Indian pop-cinema.

Hearts and flowers to lead double-holiday weekend?

He’s been wrong very recently, but that’s what jolly Carl DiOrio confidently predicts over at The Hollywood Reporter.  A fiscally very big weekend at the movies is expected overall because we have three new high profile, high-concept films debuting in over 3,000 theaters each according to Box Office Mojo. Moreover, it’s all happening over a President’s Day weekend which also includes Valentine’s Day on Sunday.

Julia Roberts and some guy in

Everyone’s going to either try to get closer to their special someone, forget that they don’t have a special someone, or perhaps try to forget that they have to pretend like they’re want to get closer to that special someone when they really would rather be in a far away foreign land of fantasy. Movies aren’t a bad prescription in any of those cases.

Garry Marshall’s multi-stor, all-star rom-com, Valentine’s Day,” is the worst reviewed of the three critically unloved films coming out this weekend, but since when does something like a seriously lacking 14% “Fresh” rating on Rotten Tomatoes stop filmgoers bent on lightly sentimental entertainment? With Julia Roberts on board and Garry Marshall’s brand of uber-schmaltz on offer, a lot of mostly female folks will be interested and their partners better be alongside them. DiOrio is expecting as much as $45 million for Warner Brothers for this one. “Avatar” shchmavatar, I guess.

Director Chris Columbus is, if anything, even less of a critical darling than Garry Marshall. (He’s absolutely no darling of this critic, I can tell you that.) Still, the latest entry in the “Precious: Based on the Noel ‘Push’ by Sapphire” ungainly title sweepstakes is Columbus and Fox’s version of “Percy Jackson & The Olympians: The Lightning Thief.” It may look like a teen-Harry Potter knock-off to the uninterested observer, but critics are being a bit less harsh on this entry, allowing it a mixed 48% “Fresh” rating, It’s worth noting that that the Greek mythological background might make things a bit easier for English teachers the world over. DiOrio is expecting something over $30 million. Sure, I guess.

Expected to come in at the #3 spot or thereabouts is the monstrous semi-remake of “The Wolfman,” with Benecio del Toro and Anthony Hopkins stepping in for Lon Chaney, Jr. and Claude Reins in a much bloodier and more elaborate period tale. Del Toro may be the best actor to play the part so far. Still, many critics, including our own Will Harris, are only about 31% impressed with either his acting this time around or the movie as a whole.

http://www.bullz-eye.com/mguide/review_images/2010/the_wolfman/the_wolfman_5.jpgKind words mostly seem to be mostly reserved for the striking atmospherics from director Joe Johnston’s effects team including make-up genius Rick Baker, which have been getting us fanboys so riled about this long-delayed production for low these many moons. Horror and monster lovers (in a platonic way, I mean) haven’t hard much to work with lately, so that sounds about right to me. I guess.

Sarandon/Stanwyck

The THR item today indicating that Susan Sarandon may be recreating the role Barbara Stanwyck created on the small screen in a film version of the 1960s television series, “The Big Valley,” was as good an excuse as any to present two scenes showcasing the rather amazing acting talents of these two great women of the screen. First, from Billy Wilder’s classic film version of James Cain’s “Double Indemnity.”

And, though it’s not as easy to find good YouTube clips of the great Ms. Sarandon as you might think, here’s a scene with the almost-as-awesome Catherine Deneuve  from 1982’s “The Hunger,” directed by Tony Scott.

A Chat with Ti West (“House of the Devil”)

Writer / director Ti West has been in the business for a decade now, helming such memorable – if low-budget – films as 2005’s “The Roost” and 2007’s “Trigger Man,” but it wasn’t until this past year that he finally began to rack up some major critical acclaim, courtesy of a mighty darned cool horror flick called “House of the Devil.” The film made the festival rounds and picked up a lot of buzz, then did a stint on the VOD circuit, but now it’s finally hitting home video, and you can count on it developing a cult following in a rapid fashion. Bullz-Eye talked to Ti in connection with the DVD release of “House of the Devil,” and in addition to discussing how such familiar faces as Tom Noonan and Mary Woronov came into the picture, he also chatted about some of his earlier directorial efforts and acknowledged that he’d much rather Alan Smithee’s name appeared on “Cabin Fever 2” instead of his own.

Bullz-Eye: Big fan of the movie. I heard a lot of the buzz about it, but I only finally got to see it once it came out on DVD.

Ti West: Oh, good. I’m glad it delivered. A lot of times, people hear a lot of buzz, and then they say, “What the fuck…?” That’s the great thing about getting buzz for a movie: it’s like free promotion. And then the bad thing is that the message boards sometimes run wild on you. (Laughs)

BE: Well, in this case, I was more or less familiar with a lot of the films that it was stylistically emulating, so I was, like, “This is sweet.” So what gave you the idea to do this…I don’t know, would you call it an homage?

TW: I wouldn’t. People do. But I more just think of it as a period piece. I mean, it’s set in the early ‘80s, so I tried to make it look like it was the early ‘80s, the same way if, it was set in the ‘50s, maybe it would be, like, Technicolor-looking or something like that. I just think that, because that period is so en vogue to reference and it’s so hip and retro to make movies about it, the word “homage” gets thrown around a little bit more than it should.

BE: So what inspired you to do a period piece, then? (Laughs)

TW: Well, I mean, since the story was about Satanism, more or less, the early ‘80s was really the height of this sort of cultural phenomenon within the United States. Now it’s called “Satanic Panic.” I just remember that growing up very vividly. I don’t know why, but I guess growing up in the suburbs, I just remember that if you went down to the park by yourself, you’d get kidnapped in a van with no windows and they’d sacrifice you to the Devil. And I remember seeing, like, Geraldo and people talking about it on TV, and I just found it really fascinating, so it always stuck with me. So when it came time to make another horror movie, I just wanted to make something Satanic, because I also really like the sort of evocative imagery and all that sort of stuff, so the only time that made sense for me to set that movie was in the early ‘80s. Nowadays, nobody’s worried about the Devil because there’s so many other things to be worried about, whereas in the ‘80s, there was this weird, almost fantasy element to what people were afraid of.

BE: You’ve definitely got a couple of actors in the film who are, if not genre specific, certainly bring to mind a few other creepy movies, like Tom Noonan (“Manhunter”) and Mary Woronov (“Silent Night, Deadly Night”).

TW: Definitely, yeah. I’m huge fans of both of them, and I’d worked with Tom before, so it was a pleasure to do it again.

BE: Had you always considered him for the role of Mr. Ulman?

TW: Not necessarily. It was one of those things where I was so focused on “how the hell am I going to find a girl who’s going to be in every frame of this movie?” that I hadn’t really given a lot of serious thought to who we were going to cast in that part. And then he E-mailed me and had gotten hold of the script somehow…I still don’t know how he did that…but he’d somehow gotten hold of the script, and he liked it and said, “I think I’d be great for it.” And I was just, like, “Done!” It made it really easy. It wasn’t necessarily written with him in mind, but it wasn’t necessarily not, either, because I know him and I knew he’d be perfect for it.

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