Category: Movie Comedies (Page 149 of 195)

Will “Transformers” make “Dinosaurs” of us all?

With the ongoing box office behemoth that is “Transformers: Revenge of the Fallen” seemingly devouring everything in its path, the studios are nevertheless allowing two potentially vulnerable major productions to venture out of the nest a couple of days ahead of the big July 4th holiday weekend.

For the family trade, we have a 3-D CGI animated sequel, “Ice Age: Dawn of the Dinosaurs,” which will be showing on a record number of 3-D screens. (Which I guess means that if you haven’t seen “Up” in 3-D by now, which I finally managed just last night, you may be SOL until at least such time as we start seeing 3-D retrospectives.) In a saner world, this would be the #1 movie this week because of family appeal, I think it’s safe to say. Carl DiOrio of The Hollywood Reporter is calling it at between $45 and $50 million for Friday through Sunday (not counting weekdays), which he thinks will be somewhat below the “Transformers” take based on a very modest 50% drop-off.

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Wrapping LAFF

The Los Angeles Film Festival ended Sunday and I’m not sure what I want to say about it. I saw several films and wanted to see more, but circumstances, and trying to blog about most of what I did see, kept me to a one or two movie per day average on the days I attended. Most of the films were as good as their buzz at least, but most of them had already screened at Sundance.

For me, the highlights were “Black Dynamite” — which was by far the most fun screening all around despite happening within hours of Michael Jackson’s death (which happened to be a less than a mile from where I was working on my posts) — and “We Live in Public” which was simply the most interesting film with the most interesting post-screening discussion. “Branson” was a highlight of another sort for the electrifying performer/one-man-drama, Jackson Cash. The film geek/native West Angeleno in me went moderately wild for a film I haven’t written about here, Curtis Harrington’s melange of romance and dark fantasy “Night Tide,” which was shot in late fifties Santa Monica and Venice.

Los Angeles is, of course, an extremely large city with strong neighborhoods but no true urban core (which is not to say that we aren’t trying to grow one) and a place where all kinds of movies screen all the time, if you know where to find them. It’s also, of course, the place on earth with the largest concentration of people involved with actually making movies or doing things related to making them. Getting them to spend a lot of time actually watching new films probably requires enticing them to go elsewhere and break their usual, already way too busy, routine.

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A Chat with Kevin Nealon

Kevin Nealon’s been a familiar face on television since his days as a cast member on “Saturday Night Live,” but in recent years, he’s become more known for his work on Showtime’s long-running series, “Weeds.” Those who can’t afford the premium stations, however, may also see him pop up as the host of TBS’s “World’s Funniest Commercials” specials. Won’t you please join us for…

Kevin Nealon: Hey, Will! How are you doing?

Bullz-Eye: Hey, Kevin, good to talk to you!

KN: Yeah, you, too!

BE: So this is not your first time around the block for TBS.

KN: No, it’s not! It’s starting to add up. (Laughs)

BE: So how did you come to hook up with them in the first place?

KN: Oh, gee, let me see if I can remember. It’s been about…oh, I’m guessing eight years now? Seven or eight years. I think they just kind of came to my agents with this offer to host this show, and I always loved funny commercials. You know, one of the reasons – like a lot of people – that I watch the Super Bowl is for the commercials during it, so I was into that. And, also, I went to school for marketing and learned a lot about commercials then, and I was going to be in advertising, but instead I went into comedy. So there’s a big interest there for me.

BE: Do you have a favorite commercial from this most recent special that really stands out?

KN: Well, there are a couple that I like. There’s one…I think it’s for Berlitz Language School, where a guy’s on the phone and he’s trying to find out how to spell “Def Leppard” because he’s doing a tattoo on somebody’s back. And it’s all in subtitles, but the woman goes, “Do you mean ‘deaf’ as in hearing, or ‘death’ as in dying?” He goes, “Um, I’m not sure.” Then he looks to the person’s back, where he’s just made the tattoo “deaf.” That’s a cool one, and there’s another one for Tabasco that’s from Belgium, where they show a streaker running across a soccer field, the cops are chasing him, and then they stop the action and say, “An hour earlier,” and they show him in a restaurant having Tabasco sauce. They kind of back up the whole thing, from the soccer field leading back up to when he used the Tabasco.

BE: So where did you film this special? I know you film them on location in various places.

KN: Oh, yeah, we’ve done them everywhere! Well, not everywhere, but we’ve done them in California, in Paris, New York. This one happens to be in Chicago, which is great, because I love Chicago.

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Box office wrap-up: “Transformers” sequel blows up real good

The news this week is about as simple and unsurprising as you can get: “Transformers: Revenge of the Fallen” has done some pretty spectacular business, netting an estimate of $201.2 million, just shy of the all-time record $203.8 million “The Dark Knight” earned on its initial five-day release. Could that $2.6 million difference be the difference between outstanding reviews and really bad ones? Nah, but I still wouldn’t be surprised to see a big drop off here, or maybe that’s wishful thinking based on my oft-repeated feelings about this particular franchise.

As per Variety, “The Proposal” came in at the #2 spot, dropping 45% from its opening for $18.5 million in its second week. And this summer’s ongoing audience and critical favorites continue to do outstanding business. “The Hangover” is thought to have taken in $17.2 million in its third week, while “Up” continues to exercise the astonishing power of the Pixar touch in the #4 spot with about $13 million in its fifth week.

This week’s only non-“Transformers” wide release, “My Sister’s Keeper” (referred to by newly rich superblogger Nikki Finke as “simpering,” but which our own Jason Zingale actually kind of liked), came in at the #5 spot with an estimated $12 million. As we mentioned last time, that’s actually a couple million more than some expected.

John Krasinski and Maya Rudolph, It also wasn’t a bad weekend on the indie side. The critically acclaimed Iraq war action-suspense drama, “The Hurt Locker,” performed well in its four theaters on the coasts, netting about $3600 per screen. In wider release, the high pedigree prestige comedy, “Away We Go,” perhaps benefited from the TV appeal of stars John Krasinski and Maya Rudolph, and got into the #10 spot with $1.7 million in just under 500 theaters.

Back tomorrow with more on the about to be concluded LAFF

More LAFF: How do you mend a “Paper Heart”?

If documentaries necessarily involve a potential for abuse, simply because the perceived reality of film is so open to manipulation through editing and other tricks of the movie trade, documentary/fiction hybrids offer the opportunity for extreme confusion and manipulation. And, boy, is that the case here.

While the actual write-ups for “Paper Heart” were vague about the premise, a fellow LAFF-goer casually told me that it involved some kind of recreation of the romance between comedian/performance artist Charlyne Yi (“Knocked Up“) and the future of comic understatement, Michael Cera. Thus, watching the film, I became convinced I was seeing some kind of fictionalized retelling of a real-life romance. I am informed, however, in David Poland’s interview and from the post film Q&A that the relationship in the film is utterly and entirely fictional, so I assumed I was wrong again and the pair don’t date and never have. But after a bit more research I have information that indicates that Yi and Cera do have a relationship, just not in the one the movie. Except that the movie deals with what are Yi’s supposedly real feelings about love and how could that not affect her real or imagined romance with Cera? Of course, that’s none of my business and that’s probably a big part of the point.

The whole layers of fiction and reality thing got even more complicated when, at the post-screening Q&A, cowriter-director Nicholas Jasenovec stated categorically that story portions of the film were fictional while the documentary portions were not. Fine, but then a pre-teen boy who appears in the film opining on romance joins the discussion and, asked about he was found for “Paper Heart,” he and Jasenovic state that he was found through a casting process to join what appears to be a conversation with more or less random school children, and he is an actor.

When Jean Luc Godard uttered his most quoted line, that cinema was truth, 24 times a second, and every cut is a lie, I think this is kind of what he was talking about. But, so what?

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