Category: Movies (Page 187 of 498)

The “Metropolis” that won’t be screening at TCM Fest

Back in 1984, film composer and hit-maker Giorgio Moroder scored a version of Fritz Lang’s “Metropolis” with the help of passel of rock stars of the day. Despite being a rather visually dazzling edition of the pioneering science-fiction film on a visual level, for me, it was a disaster. It was hampered by Moroder’s oddly anachronistic soundtrack (the future from the twenties perspective should not sound like 1980s disco), and utterly ruined by the inclusion of vocal tracks from singers like David Bowie and much, much worse, Pat Benatar, who I didn’t much care for in any context.

Regardless, I think there’s something very, very wrong and distracting about combining pop vocal music with silent cinema. See if you agree.

Your TCM Fest ultra-quick box office report.

It TCM Fest‘s closing day and I’m determined to see “The Magnificent Ambersons,” “The Good Earth” (with an appearance by centenarian film legend Luise Rainer), and the new, new, new “Metropolis” but today’s box office estimates are bit too interesting to ignore completely.

The short version is that, as per the mighty Box Office Mojo chart, “How to Train Your Dragon” won the weekend box office with just over $15 million. “The Back-Up Plan,” a comedy vehicle for Jennifer Lopez, opened with a rather lame $12.25 million which should please our own David Medsker, who hated, hated, hated it. Graphic-novel based action fest “The Losers” made only $9.6 million, but seeing as it’s budget was $30 million less than the J-Lo film, it’s actually doing a lot bettter despite grossing less.

Date Night” is hanging in there very nicely in its third week. Like, “Dragon” it defeated both newcomers and came in at the #2 spot, earning $10.6 million for an accumulation nearing $65 million, $10 million more than its budget. Familiar and reliable comedy faces still mean something at the box office if the movie makes people laugh. Expect to see more family films and wide-audience PG-13 comedies and a bit less ultra-violence.

And that leads us to Matthew Vaughn, a director who has a lot less luck than talent and smarts, is no doubt thanking his reasonably lucky stars for keeping the budget on “Kick-Ass” reasonable.  The controversial black-comedy action flick dropped by 52%, roughly average for genre films that aren’t setting the world on fire. Still, the total gross is actually already $4 million above the $30 million budget. Assuming  the budget number is correct and what I can only imagine will be a long and healthy life on home video, he’s actually done rather well even as a something of a disappointment. Hope for the best, prepare for the worst.

Oh, and I guess I should see “Kick-Ass” myself before it leaves theaters. I always seem to catch Vaughn’s films after they’re declared failures and find myself really liking them. I guess I like underdogs.

Another TCM Film Fest movie/moment problem solution

More complaining — but it’s about the good kind of “embarrassment of riches” problem here at TCM Fest. You see, because it’s on opposite Donald Bogle’s Out of Circulation Cartoons presentation, I’m going to have to miss a true bit of cinema comfort food for yours truly, 1938’s “The Adventures of Robin Hood.” Of course, especially considering the much higher than usual $20 ticket price, I’m lucky to be able to go to these on a press pass.

Still, if time simply won’t allow me to see the film version tonight, at least I have this five second version of the classic, which really does underline what’s to love about the Warner Brothers’ Technicolor classic.

Okay, so it’s more than five seconds. And (spoiler arlert), here’s the Lego version of the climactic sword fight between the heroic Robin (Errol Flynn) and the villainous Sir Guy of Gisborne (Basil Rathbone). Even in Legos, it’s still apparent that Rathbone is actually the better swordsman.

Whining and the magical movie moment solution

I’m having a rough morning here. Not that it’s been all bad here at TCM Fest in the heart of Hollywood, in fact a lot of has been very good.  I did catch three movies yesterday, each in their own way fascinating: the unusually emotional Delmer Daves western, “Jubal”; the bizarre and fascinating inept and inapt once ultra-scandalous wartime British gangster film set in America, “No Orchids for Miss Blandish”; and the first public screening of the 1963 sci-fi/horror hit “Day of the Triffids” in a genuinely impressive restoration which would have been even better if I hadn’t been so sleepy — or if the introduction hadn’t been so long. (It’s hard to blame a film restorer for excess enthusiasm, but, well, the garages close here at 2:00 a.m.). A post screening discussion between Leonard Maltin and Ernest Bognine after “Jubal” earlier in the day, on the other hand, was another highlight. I’ll be posting about that one a bit later, I think.

But then there was the hour I just spent trying struggling with IT people to try and use the wi-fi at the Hollywood Roosevelt Hotel. (Absolutely no knock on the hotel, where everybody has more than helpful and I seem to be the only one having the problem. Apparently they’re system and my lousy Vista using laptop computer are just having a bad relationship.) And, so, I find myself back at the Coffee Bean and Tea Leaf trying to tie up loose ends, including feeding this here blog beast. And I’m in need of a bit of cinematic comfort.

Fortunately, tonight the festival is coming to the rescue with some old personal favorites of mine and about a gazillion other people. So, now a movie moment from “Singin’ in the Rain” showing tonight at the Egyptian Theater with its great co-director, Stanley Donen, appearing afterward. I wasn’t sure about it as I’ve seen it a million times, but I can definitely use the cinematic comfort. And here’s it is….

…No, actually, here it isn’t because suddenly all the clips I can find on YouTube on “embedding disabled upon request.” It’s been that kind of a morning. So, instead, here’s a pretty great clip from 1935’s “Top Hat” which showed last night.

A chat with Ted Lange…? You got it!

On Sunday, April 25th, TV Land will be airing its annual celebration of classic television known as the TV Land Awards. Our man Bob Westal was walking the red carpet for us, star-spotting and chatting with the occasional celebrity passerby, but as I’m ensconced here in Virginia, I have to make do with phoners. It was hardly settling, however, to have the opportunity to chat with an iconic figure of ’70s and ’80 s television like Ted Lange. Although he’s arguably best known for his role as bartender Isaac Washington on “The Love Boat,” it’s far from the only item on his resume, so I made sure to brush up on his list of credits on IMDb before getting on the phone with him. This proved to be a wise move, as it resulted in stories of a Shakespearean production and tales of working on “Wattstax,” “Friday Foster,” “Record City,” “Mr. T and Tina,” and, yes, “That’s My Mama,” too. But, of course, there was still plenty of “Love Boat” banter as well, since it was that very show which led Lange to attend the TV Land Awards and reunite with his former crewmates…sorry, I meant castmates.

Come aboard as we set sail for…

Ted Lange: Hi, Will!

Bullz-Eye: Hey, Ted, how’s it going?

TL: Good! How are you doing?

BE: I’m doing well. It’s a pleasure to talk with you.

TL: What city are you in?

BE: I’m in Norfolk, Virginia. Where are you? Somewhere on the east coast, I guess, given how early it is.

TL:West coast, actually!

BE: Wow, then it’s really, really early there. Are you in California?

TL: Yessir. Los Angeles, California, city of the angels! (Laughs)

BE: Well, one of our writers here at Bullz-Eye was actually at the TV Land Awards the other night…

TL: Oh, really?

BE: He did the red carpet thing, and then he headed into the bloggers’ room, so he wasn’t in there with the action, per se, but he said it was a good time.

TL: It was a good time. It was a lot of fun.

BE: So was the entire cast there for the reunion?

TL: Well, Gavin MacLeod (Captain Stubing) had a back operation – he hurt himself, hurt a couple of his discs – so he wasn’t able to be there. We really missed him, because, you know, he’s the anchor of the show as the captain. So I called him up and talked to him to see how he was doing, and he was a little weak, but he was recuperating well. But everybody else was there, and they all brought their kids. Fred Grandy (Gopher) brought his daughter, I brought my son…it was a lot of fun.

BE: I was talking to Bob, our man who was there, and he was quite pleased that he’d gotten to talk to Bernie Kopell (Doc) on the carpet. So do you guys keep in touch aside from these occasional public reunions?

TL: Oh, yeah, absolutely. We’re friends. The great thing about the show was that we made friendships, you know? We were acting buddies and everything, but off-camera…I mean, I learned how to play tennis on Bernie’s tennis court. I wasn’t really into tennis ‘til I met Bernie. He’s been a good pal, and Fred I see all the time whenever I’m out on the east coast, and Tewes…we’re all friends, and that was the wonderful ancillary benefit of the show: that we made some really lasting friendships.

BE: So how did you first come onto “The Love Boat”? Obviously, you were pretty well established on television already, thanks to “That’s My Mama.”

TL: Yeah, actually, I did two series. I did “That’s My Mama,” and I did another series called “Mr. T and Tina,” with Pat Morita. The network was aware of me, and they had done a pilot and…they had used the guy who played the postman on “That’s My Mama,” Teddy Wilson, on the first “Love Boat” pilot, and they didn’t like the chemistry of the crew, so when they did the second pilot, they kind of threw everybody out that wasn’t working and brought in some new guys…and they stuck with the “That’s My Mama” cast by bringing me in to play the bartender. (Laughs) So I was very fortunate!

BE: Had you worked with Aaron Spelling before “Love Boat”?

TL: No, I hadn’t, actually. Jimmy Komack was the producer of “Mr. T and Tina,” and he sat me down and said, “You’re going to go work for Aaron Spelling, so let me just tell you that he’s really a great guy.” And, of course, he was correct.

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