Category: Horror Movies (Page 65 of 96)

TCA Tour: “Medium”

During NBC’s portion of the January TCA press tour, I spotted “Medium” creator Glenn Gordon Caron at the network’s cocktail party. I cornered him long enough to tell him how excited I was for the series to return, then I asked him why the show hadn’t scored its own panel that day, even though the miniseries “The Last Templar” had. Caron shrugged and acknowledged that “The Last Templar” was an NBC-Universal production and “Medium” wasn’t, but if he had anything else to say about his show’s home, he was polite enough to hold his tongue.

Now that “Medium” has found a new home on CBS…well, Caron’s still polite, but he doesn’t mind acknowledging that he had some problems with the way the show was underpromoted in its time on NBC. (He also didn’t mind getting off a one-liner about how “the last time we came here, NBC made us walk here.”)

“You know, it’s so hard in this environment to launch a show and sustain a show,” Caron acknowledged. “I think we’re all incredibly grateful to NBC, we were on their air for five years, and nobody wants to take shots. I think there were times along the way when everyone, even people inside NBC, thought, ‘Gee, maybe if we gave that show a little more attention, if we publicized it a little more vigorously, it might actually do better for us and might bring more viewers to the network.’ I don’t think there’s been any great secret there. It’s been written about; it’s been talked about. Having said that, we had five fairly fruitful years at NBC. Looking back, could things have been done differently? Absolutely. Ben (Silverman), who is actually a friend, said some harsh things I’m sure he regrets about our show…and, by the way, you guys play no role in this whatsoever.”

Ahem.

Medium: Season 1 – 4.5 stars
Medium: Season 2 – 4 stars
Medium: Season 3 – 4 stars
Medium: Season 4 – 4 stars

I’m just saying: there are critics who’ve been supportive of the show, and I’m definitely one of ’em.

Okay, back to business.

“Truthfully, we’re grateful to NBC,” said Caron. “We had a nice run there. But the good news is we’re on CBS now, and for the first time in three years, we’re going to do 22 episodes. We’re beginning a season, knowing when we’re premiering: in the Fall and doing 22 episodes. And as a storyteller, that’s a huge thing. It means I can say to you, sir, ‘And on Halloween, we will be doing thus and so.’ That’s a luxury we’ve not had for three years, and those are the sorts of things that are frustrating when you’re doing a show. But it beats not working.”

Indeed, it does. But as happy as he was about bringing the show to CBS (it’s perfect, really, since it’s a CBS production, anyway), Caron did at least try to keep the show where it was by writing a cliffhanger ending to the Season 5 finale…not that the plan actually worked.

“What I was trying to do was write an ending that was so provocative that it would be impossible to cancel the show,” he explained. “You saw how that worked out. It was sort of me being a wiseguy, frankly, and really trying to stack the deck in such a way. And for what it’s worth, NBC was complicit. We don’t make the shows in secret. I said, ‘This is what I’m going to do: she’s going to have a brain tumor, she’s going to go into a coma, and we’re going to put up a sign that says, ‘To be continued.’ And they said, ‘Great.'”

Caron gave us a big scoop, by the way.

“There’s so many of you here, I guess I can let the cat out of the bag: she comes out of the coma,” he revealed, with a grin. “And she’s on a different network. It’s the damnedest thing!”

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“G.I. Joe” to enforce age (and gender?) apartheid at box office (updated)

It’s hard to tell from the wilds of deepest North Orange County, but I’m guessing that Hollywood’s in a mild state of shock following the very unexpected death of John Hughes, without a doubt one of the most influential writers and directors of the past two-and a half decades. Nevertheless, life goes on and the box office is the fact of life in the film business.

And so it is that, Lord help us all, “G.I. Joe: The Rise of Cobra” seems poised to take this coming weekend’s chase for the green fairly effortlessly. Indeed, the always jovial Carl DiOrio of The Hollywood Reporter expects something in the neighborhood of $45-50 million. As mentioned here before, the actioner hasn’t been screened for critics, an increasingly common studio ploy that is nevertheless still somewhat rare for a film as high profile as this one.

Variety‘s Pamela McClintock, though not setting any numbers out for us, remarks that the action/sci-fi flick and toy/game marketing device is:

…sparking strong interest among both young and older men, as well as some curiosity among younger femmes, according to tracking.

Why any sensible young person of either gender should be interested in this film eludes me, but I guess we’ll have to see if there’s enough insensible ones from both to make this film more than a young male bastion. I should also add that some critics in the online and foreign press have managed to somehow see the film despite Paramount’s non-screening decision, and the Rotten Tomatoes numbers are less dismal than you would expect. Still, in my estimation, the best reviews lack all conviction while the worst are filled with passionate intensity, though the rough beast we call the teenage populace will not be stopped from slouching towards the Plex-ville. (My profoundest apologies to Mr. Yeats.)

Intriguingly, while both Variety and THR say “Joe” will be deploying to 3,500 screens, Box Office Mojo has the film in over 4,000 theaters. The cinematic Powell doctrine, anyone?

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Hollywood manages its baser instincts (updated)

Yes, it seems to be a day when we’re avoiding the worst that the film biz has to offer. Take that Sammy Glick! Maybe.

* Notorious screenwriter Joe Eszterhas, who brought the world such morality plays as “Basic Instinct” and “Showgirls,” is handling the kind of character/person you’d never expect him to write about, or meet. A virgin. Apparently the once severely overpaid, self-aggrandizing writer not exactly known for any particular virtues of any particular sort became a born-again Catholic following a bout with cancer. Naturally, a recent memoir tells of his conversion.

* I’ve never watched the most recent iteration of “At the Movies,” but I’m happy to say that the next version will be hosted by the New York Times‘ A.O. “Tony” Scott and the Chicago Tribune‘s Michael Phillips. They had both been my favorite subs for the still-going-strong but voiceless Roger Ebert during the final days of the old show’s run, and having them both return gives me a small but solid happy. These guys know movies and should be worthy successors to Mr. Ebert and the late Gene Siskel. I’ll be tuning in.

UPDATE: Glenn Kenny weighs in on “when good things happen to good film critics.” He also has something to say about the predecessors…and one of their daddies. It’s critical go-time. A humorous must for fans of critic-on-critic pugilism and praise.

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Cinephile blogs don’t care if I ignore them

But it’s still high time I take a look around the online petri dish that has nurtured me for so long…

* Jesus of film geek cool Dennis Cozzalio has a nifty conversation with director Joe Dante (“Gremlins,” “Piranha,” “Rock ‘n Roll High School,” “The Howling,” etc.) whose doing some ultra film-geek stuff in L.A. while finishing up his lowish budget 3-D horror film, “The Hole.”

* Kimberly Lindbergs reviews the new biography of Hal Ashby (“Harold and Maude,” “Being There”) whose fandom is definitely growing.

* There’ll be more posts like this to come, but I’ll wrap up with the amazing Self Styled Siren‘s discovery a couple of week’s back of a truly great YouTube clip featuring Fred Astaire dancing and singing a song now practically owned by Frank Sinatra. If Frank was the ultimate saloon singer, Fred was the ultimate urbane hoofer. And he was an underrated singer and actor as well.

Though the Siren has problems embedding, I can present it to you directly here. Even if you think you hate or have no interest in musicals, check this one out, by the time Fred starts dancing at 2:45, I promise you won’t be sorry. (The video, by the way, runs a bit long. Feel free to click away after Fred finally ambles out of the bar. Also, note that he tells humorist-turned-actor Robert Benchley that he plans to walk, not drive, home — which is not the way the song’s usually interpreted. That’s Astaire: class through and through.)

Is the “Funny People” box office take half full or half empty?

Like so many things in life, the meaning of the weekend gross for the Judd Apatow/Adam Sandler “serious comedy,” “Funny People,” is a matter of perspective. On the more cheerful side, we have the trades, which typically enough are accentuating the positive, noting that the somewhat risky project, at least by modern mainstream film standards, was actually #1 at the box office, even if the amount it took the lead by was less than mega-spectacular.

The Hollywood Reporter (actually the AP as carried by THR) thinks that Judd Apatow is living in the best of all possible box office worlds:

Movie audiences have taken a liking to Adam Sandler’s more serious side…[“Funny People”] grabbed the top spot at the weekend boxoffice with a $23.4 million debut.

Variety takes a more measured, but still somewhat upbeat, tone:

Adam Sandler’s “Funny People” has topped a moderate weekend box office with $23.4 million at 3,008 playdates.

Nikki Finke, however, has a different way of seeing things. Here’s her headline:

‘Funny People’ No Laughing Matter; Opens To Lousy $8.6M Fri And Worse $7.4M Sat For Disappointing $23.4M Weekend

La Finke goes on to point out that Universal has been lowering expectations from Sandler’s usual $30-$40 million openers to a more modest $25 million, and fell a bit short of that.

Jonah Hill, Jason Schwartzman, and Adam Sandler kvetch over turkey It really does come down to your frame of reference. In my weekend preview post, I mentioned the Sally Field/Tom Hanks starring “Punchline,” which I think is a better point of comparison than any particular Apatow or Adam Sandler film, including 2002’s “Punch-Drunk Love,” simply because of the subject matter, the more-serious-than-you-might-expect approach, and the level of star power. That movie got similarly mixed reviews but was one of 1988’s lowest grossing films, despite the presence of two bankable stars. Two small differences: one had laughs, the other doesn’t, and Sally Field was not ever thought of as a great comedian, “The Flying Nun” notwithstanding.

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