Category: Movie Dramas (Page 107 of 188)

TV/media in the 2000s: 10 (or so) key voices in left/right political media

Politically speaking, the aughts have been one long, strange trip. Just think about what we’ve seen this decade: a disputed presidential election in 2000, the largest terrorist attack in world history occurring on U.S. soil in 2001, followed by two wars, the partial erasure of New Orleans and much of the Gulf Coast, a congressional changing of the guard, the election of the first African-American president as well as the first with a foreign-sounding name, and the probable passage of a health care package which, depending on your point of view, is either historic, a mystery, a bit of a sham, or the first step on the road to a Stalinist U.S. of A.

Bubbling beneath all of this has been a series of remarkable changes in the world of media — television, movies, radio, and this thing we call the Internet — that have had a fairly profound impact on politics and, therefore, on real life. What follows are my choices for the ten most interesting and/or influential figures in the realm of political media. To try and slightly compensate for my obvious liberal bias (my side is far more facty, I tell ya!), I’ve got five spots each for conservative and liberal media figures respectively and I’ll be alternating and counting down from the bottom.

#5 Conservative

Trey Parker and Matt Stone — It’s possible that most regular viewers of “South Park” have little idea that Parker and Stone are self-described Republicans and I’m sure most of you don’t think of it as that much of a political show, even though rather subtle and often quite penetrating and/or infuriating thoughts about politics run through many, if not most, episodes. That’s because, like all great satirists, they are just as good at poking holes in the pretensions of their own side as that of the opposition, and their social liberalism puts them so at odds with the increasingly extremist faction that now controls much of the Republican party that some could easily mistake them for liberals. Actually, right now it’s easy to imagine them ditching the party indefinitely, along with any number of smart fellow conservatives who have already done so publicly.

parker-stone

Still, conservative and/or anti-liberal messages are often found on episodes of “South Park,” including attacks on such personal friends of the pair as George Clooney. Indeed, as early as 2001, famed blogger Andrew Sullivan described himself as a “South Park Republican.” (Sullivan is now one of those smart conservative ex-Republicans I mentioned above.) And, of course, there was no stronger, and certainly no funnier, attack on the antiwar efforts of the American left than “Team America: World Police” which had marionette versions of Michael Moore, Alec Baldwin, Matt Damon, and Janeane Garofalo working in tandem with North Korean madman Kim Jong-il in his plans to destroy Western civilization.

Since the film’s release in 2004, more doctrinaire conservatives have tried to follow suit with such liberal-bashing comedies as “An American Carol” and “The 1/2 Hour News Hour,” a truly wretched attempt to craft a conservative alternative to “The Daily Show,” but only Parker and Stone have been able to bash liberals and their ideas and make targets like Alec Baldwin love it.

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Celluloid Heroes: Eight Musicals of the 21st Century

A funny thing happened this decade — the once dying genre of live-action movie musicals seems to have returned to the movie repertoire. As the decade closes, I can think of exactly two major westerns, but I keep remembering musicals that I should consider for this piece (including the mostly well-regarded French musical “Love Songs,” which I forgot to see before writing this, je suis désolé).

As a lifelong fan and a nearly lifelong tough critic of musicals, I love most of these films. However, this list is not so much a traditional “best of” and I’ve included one choice I definitely don’t like. (It won’t be hard to guess which.) These are musicals that I think contributed to the development of this polarizing and hard to pull off genre. They don’t hark back to times gone by or try to recapture a past glory that will never return, but actually take us into the future. That’s important now that musicals seem to have a future.

“Dancer in the Dark” (2000)

Earlier this year, the brilliant but often irritating Danish director Lars von Trier shocked hard-to-shock European festival audiences with graphic sexual violence in “Antichrist.” Back in 2000, all he needed to divide audiences was some really intense melodrama and an approach to making dark musicals partially borrowed from TV creator Dennis Potter (“Pennies from Heaven,” “The Singing Detective”).

Featuring a literally once-in-a-lifetime lead performance by singer-songwriter Björk as a young mother ready to sacrifice everything to save her son’s failing eyesight, “Dancer in the Dark” is maybe the most emotionally potent story of parental love I’ve ever seen. As a musical, it’s strange and arresting.

Like the Potter television shows and movies and “Chicago,” further down the list, the musical numbers take place in the mind of the lead character. In this case, however, it is particularly poignant as our heroine is a fan of musicals who, though she is gradually going blind, is attempting to appear in a community theater production of “The Sound of Music.” Below, she musically confesses her situation to a smitten Peter Stormare (yes, the guy from “Fargo”). Lumberjacks or not, “Seven Brides for Seven Brothers” sure seems like a long time ago.

Moulin Rouge” (2001)
As the non-musical Pixar films became the dominant template for animation and the musical form lost its last apparent movie bastion, big studios began to experiment with musicals starring humans. Unfortunately for me, the first and still one of the most popular of this decade’s high profile film musicals was Baz Luhrmann’s beautifully shot, amazingly designed, dull-witted, and over-edited “Moulin Rouge.”

Yes, this musical fan is not a fan of the musical that’s been credited with resurrecting the genre. Why? A couple of sequences work, but on the whole I expect the funny parts of a movie to make me laugh and, even more important, I like to see the movies I’m seeing. As far as I can tell, Luhrmann simply doesn’t have the confidence in this film to allow us time to view the arresting images he’s worked so hard to craft, nor does he permit time to actually see the hard work his dancers and actors put in. Editor Jil Bilcock is expected to do all the performing instead.

As for what Luhrmann and his arrangers did with the various classic songs they threw into a musical Cuisinart, the less I say about it the better. At the risk of sounding like a fogey (or a member of an 18th century Austrian court), too many notes. Way, way, way, too many notes. See if you disagree.

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All about “Avatar” — Monday movie news notes

I’m a bit pressed for time/writing energy right now, so this will be a somewhat abbreviated edition.

* We have revised final figures on the first weekend take for “Avatar” and I suspect it’s the start of a trend. The original call was for $73 million, but Sunday turned out to be a bigger day than expected — word of mouth, I’m thinking. The new total is $77 million. For contrast, the dismal take of the weekend’s other new release, “Did You Hear About the Morgans?,” was $400,000 less than expected. Box Office Mojo has more.

* I agree with Jay Fernandez about why the weekend grosses for the Cameron mega-flick were not ultra-mega-huge and why that may not even matter much over the long term.

Folks gaze in * Newsflash: While most folks seem to be digging it, not quite everyone in the universe loves “Avatar.” Some on the left and the right even have political issues with it.  Just in time, Avatarian/3-D contrarian Jim Emerson has some handy rules for arguing about movies that I wholly endorse. As the mighty Ebert would say, clip and save!

* And in non-“Avatar”-related news, the negotiations by Ruper Murdoch’s Fox-owning News Corp. to buy the once mighty MGM have gone on hold, says Nikki Finke. Wither Leo now?  Actually, I lied, Fox is releasing “Avatar.” It’s all “Avatar” all the time!

* And while we’re on the subject, also from la Finke, Johnny Knoxville on the upcoming “Jackass 3”:

We’re going to take the same 3D technology James Cameron used in AVATAR and stick it up Steve O’s butt. We’re taking stupid to a whole new dimension.

Oh, joy. But, since we’re going there, how long before someone uses this technology for what it was clearly designed for? And, by that I obviously mean porn.

“Inglourious Basterds” DVD launch: A less deadly Operation Kino kicks some Nazi ass

So, while I was procrastinating conducting in-depth research for this post, covering a promotional screening for the rather glorious “Inglourious Basterds,” I found myself going over numerous reviews and think pieces. One piece for a very respectable and staid looking website started out normally enough but, while praising “Pulp Fiction” and other older films in the Quentin Tarantino catalogue, it quickly became unusually vicious. Tarantino is a filmmaker who has a special gift for generating a certain degree of critical anger, the cinephile hubbub kicked up by critic and film historian Jonathan Rosenbaum over the film’s non-portrayal of the Holocaust being one prominent example, but this was different.

As I noted the attention this particular review seemed to be paying to the ancestry of the cast, crew, and characters, I realized that the hate was not over anything so conventional as concerns that “Basterds” might be trivializing the Holocaust or World War II. I was reading a “white nationalist” web site. Yes, even more than some overly sensitive liberals, Nazis hate “Inglourious Basterds.” Considering it’s a movie in which a bunch of Jews, a part Cherokee good ol’ boy lieutenant, an African-French projectionist, a traitorous movie star, and a few odd others defeat the Third Reich in a painful and fiery manner, displeasing Nazis is kind of the whole idea.

IB Cast LR

Certainly, no one was feeling conciliatory towards facists or racists of any stripe as a good portion of the “Basterds” cast and crew turned up at the last of L.A.’s revival houses, the legendary New Beverly Cinema, to celebrate the DVD/Blu-Ray release of the the award-winning, genre-blending war flick. Indeed, as neighbors from the heavily Hasidic West Hollywood-adjacent neighborhood ignored the commotion, a few of us less observant entertainment scribes got the chance to talk to a select group of not-quite superstar basterds, including players in two of the more acclaimed sitcoms of all time, a personable musician and Tarantino-buddy turned actor, and a passionate producer who is not about to let any conservative climate deniers take away his Oscar…but that’s all ahead.

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“Avatar” off to a slightly snowbound $73 million start

Sam Worthington and Zoe Saldana, embellished, in Thursday night, I tried to imply that only the apocalypse itself could prevent “Avatar” from winning the weekend. And, while 2012 is still a few years away, Nikki Finke reports that a big East coast snow storm is being blamed for the film earning a below-expectations estimate of $73 million for Fox — $12 million less than the the $85 million figure that was being bandied about previously. Regardless, $73 million ain’t chicken feed, though with a ginormous budget ($300 million??) comes ginormous responsibility to rake in the megabucks.

If I were James Cameron, I wouldn’t worry too much, however. Finke is trumpeting the numbers for the more expensive 3-D and 3-D Imax screens and the worldwide take was a record setter, if you leave out all “franchise” films. In other word $159.2 million worldwide is the worldwide record for a film with no previously known characters and not a sequel to some prior hit.

More important, as I suggested on Thursday, the science-fiction spectacular’s strong reviews will likely be reflected in word of mouth among cinema civilians. Finke says that the audience approval surveys from Cinemascore gave the film an “A” across every “quadrant” — i.e., people of all age and gender groups seems to like it. With the Christmas vacation period just getting started and a few Oscar nominations almost certain, I think it’s safe to say that “Avatar” is in better than good shape, especially if a movie like “2012,” which lots of people saw but which I gather very few loved, could still be profitable with a production budget of $200 million. I’d like to think that, sometimes, movies that people actually like do better than movies they merely tolerate. Humor me.

As for the rest of the weekend box office, there wasn’t a whole lot of excitement. Taking a look at the ever-handy Box Office Mojo chart once again, the #2 and the #3 spot went to Disney’s hand-drawn “The Princess and the Frog,” which earned an estimated $12,224,000, and this year’s unrivaled sleeper hit from Warner Brothers, “The Blind Side.” The feel-good sports drama made an estimate $10,030,000 this weekend for a rough total so far of $164,734,000. Considering it’s $29 million budget and the possibility of a box office life-extending Best Actress nomination for Sandra Bullock, I’m guessing this has to wind up as one the year’s most profitable films, perhaps rivaled only by the sub-micro budgeted phenomenon, “Paranormal Activity,” and assorted mega-hits I don’t feel like mentioning/researching.

While Oscar-hopeful “Nine” was the week’s winner in terms of per screen average with $61,750 in four theaters (“Avatar” average of $21,147 was the second placer in per-screen), the week’s other major new release performed in predictably uninspiring fashion. Sony’s critically drubbed star-driven attempt at romantic comedy, “Did You Hear About the Morgans?,” dipped below its extremely modest expectations to earn an estimated $7 million, about  $1 million less than predicted — the snow again, I’m sure. Nevertheless, it appears that if people did hear the Morgans, they mostly decided to ignore them.

Hugh Grant and Sarah Jessica Parker in

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