Category: Movie Comedies (Page 68 of 195)

No box office surprises: “A Nightmare on Elm Street” tops the charts; “Furry Vengeance” bites it

A Nightmare on Elm StreetI’m going to keep in short and snappy, especially since things have worked pretty much they way they looked to way back on Thursday night. So, yes, as expected, the critically dissed remake/reboot of “A Nightmare on Elm Street” did scarily well for Warners, earning an estimated $32.2 million or so as detailed by Box Office Mojo. At the #2 and #3 spot are the leggy successes of the moment, Paramount/Dreamworks “How to Train Your Dragon” and Fox’s “Date Night.” They earned estimates of $10.8 and $7.6 million respectively.

In other news…Oh, for a universe where someone not named Frank Miller made “The Spirit” and cast Brendan Fraser in the part he was born to play as Will Eisner’s affable-but-tough Denny Colt.  In that universe the accomplished actor wouldn’t have to take parts in apparently horrid comedies like Summit Entertainment’s “Furry Vengeance,” which climbed all the way up form 0% on Rotten Tomatoes earlier to a rocking 02% here on Sunday nigh because of a positive review from voice-in-the-wilderness Chris Hewitt. Still, the other 48 RT critics apparently spoke for the majority of filmgoers. The comedy earned a fairly pitiful estimated $6.5 million on its opening weekend to hit the #5 spot, despite plenty of publicity and screens for a wide release family film.

In the world of limited releases, the top per-screen earner was the extremely well-reviewed comedy-drama from critical favorite Nicole Holofcener and star Catherine Keener, “Please Give,” which earned a rocking estimated $25,600 or so for Sony Classics on five art-house screens over the weekend. Among other indie films doing notable business was the offbeat comic documentary, “Exit Through the Gift Shop” which earned an estimated $182,000 on 20 screens. “Harry Brown” starring Michael Caine also debuted strongly, earning an estimate $180,000 on 19 screens for Samuel Goldwyn, who is doing very well for a mogul whose been dead since 1974.

Michael Caine is

Frank Loesser movie moments #2

My weekend salute to Frank Loesser’s centenary continues with two of Mr. Loesser’s more joyfully complex compositions from “Guys and Dolls” and a spotlight on the great Stubby Kaye.

Note for Elvis Costello fans: if that second song sounds extra familiar, “Sit Down, You’re Rocking the Boat” is quoted in EC’s great B-side, “Heathen Town.” Remember, the only stake you cannot raise is the one driven through your heart.

Frank Loesser centenary movie moment #1

If you were listening to NPR news this morning, you might have caught a very nice interview with Jo Sullivan Loesser, the widow of Broadway legend Frank Loesser, best known for his songs for “How to Succeed in Business Without Really Trying” and “Guys and Dolls,” a real contender for the best musical comedy score of all time.  The occasion is that this is the year Loesser, who died in 1969, would have turned 100.

So, here’s the key number from “How to Succeed,” in which young, extremely fast-rising executive and ex-window washer J. Pierrepont Finch serenades his favorite person in the world. The film version, directed by David Swift, isn’t a particularly brilliant piece of cinema in terms of taking the piece from stage to screen, but it documents the play on film rather nicely, as you’ll see below.

Of course that’s a young Robert Morse up there as Ponty. I’m not sure how widely known it is to younger viewers of “Mad Men,” but Morse is better known these days as the conniving and sagacious Bertram Cooper, until recently the senior mucky-muck of ad firm Sterling Cooper. (Any similarities between the often somber TV show and the sprightly satirical musical aren’t, of course, all that coincidental.) Morse is an even better actor today, but the above shows how skilled he was at age 35 back in 1966-7 (when he still looked about 20).  Daniel “Please don’t call me ‘Harry'” Radcliffe, who really is still practically a zygote, is going to be taking on the role shortly on Broadway, which will be interesting.

After he’s done…well, I wonder if Vincent Kartheiser (i.e., Pete Campbell) can sing at all. I’d pay to see that.

Friday night movie news dump

I’ve got a bunch of other stuff to get to, so let’s see how efficient and selective I can be tonight.

* We have a Bat-date and it’s July 20, 2012.

* “Iron Man 2” is already starting to rake it in.

98447551TT008_Iron_Man_2_Wo

* I can’t believe I failed to mention this a couple of days back, but writer-director Bill Condon is handling the next “Twilight” film. These days, Condon is best known for “Dreamgirls,” and he did a brilliant job turning Bob Fosse’s anti-dramatic theater-piece, “Chicago,” into an audience-friendly hit as a writer. However, he’s made a horror film (one of the “Candyman” films) and also his terrific “Gods and Monsters” was an homage to “Frankenstein” director and all-around filmmaking great James Whale. In other words, he’s far more interesting a guy to do this than you would expect.

* News-flash: “Kick-Ass” man Matthew Vaughn will, once again, not be directing an X-Men movie. Don’t stop the presses!

* If James Cameron paid such careful attention to the science in “Avatar,” why couldn’t he also spend a little time on the dialogue?

* With all the sequels being made, why the f*** not “Anchorman 2”? Too many comedy superstars means too much $, I suppose.

* Speaking of money, you’d think it would be easy for David O. Russell to get enough money for two or so days of shooting to finish “Nailed,” written by Kristen Gore (Al and Tipper’s  funny daughter). It seems the quirky comedy (the extremely talented, conflict-prone Russell makes no other kind) has been sent to cinema hell — or purgatory if we’re all lucky — not by Russell, who for once seems to have things nicely under control, but by seriously troubled producer David Bergstein. For those of you with enough time, check out the long version of what left this film literally hanging as written by Kim Masters. Sad/fascinating stuff.

* Justly respected critic Todd McCarthy is back after being canned by Variety and blogging for Indiewire. Good news.

* J.J. Abrams may be doing something with Steven Spielberg. Quoth Beaks:

[It] will be “both a tribute to and a collaboration with Steven Spielberg”. The film, about which nothing specific is known, is intended as an homage to Spielberg’s ’70s and early ’80s output; “…an interpretation of some of Spielberg’s earlier films, but done in a personal way.”

…This is either kinda cool, or a little creepy. I can’t decide.

Some final thoughts about the TCM Classic Film Festival

It’s time for me to take a moment to reflect a bit on what I learned from my rather hectic but definitely fun and enlightening time at the TCM Fest.  As previously reported here and everywhere else, it turned out to be a fairly roaring success and is promised to be repeated next year in Hollywood.  Because of time constraints and because I wasn’t able to enjoy the truly titanic number of films seen by, say, a Dennis Cozzalio — currently working on a detailed and sure to be great summary of the event — I’m going to limit myself to a few random observations covering material I have not mentioned in prior TCM-centric posts. (Here, here, and here.) Naturally, it’ll still turn out to be much longer than I originally intended.

HCM-55-Grauman's-Chinese-Theater-(2)

Borgnine, Donen, Rainer

As someone with parents in their eighties and nineties, I’ve become especially interested lately in the way things work for people of a certain age. So it was with some some special interest that I listened to the words of 100 year-old thirties star Luise Rainer, 93 year-old star character actor Ernest Borgnine (“Marty,” “The Wild Bunch”), and 86 year-old directing great and one-time boy genius, Stanley Donen — best known for co-directing “Singin’ in the Rain” and other MGM musical classics with Gene Kelly but also an outstanding director in his own right of both musicals and “straight” films.

Continue reading »

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑