Category: New Media (Page 8 of 14)

Did Twitter kill Brüno?

I was looking forward to seeing “Brüno.” “Borat” was hilarious, and the scenes released by the studio for “Brüno” were funny. Unfortunately, the film fell a little flat. Some scenes were funny, but most were not, and too many of the scenes seemed staged this time around. I just started using Twitter so I sent out a note (I hate the word “Tweet”) about the film. Apparently I wasn’t the only one.

In the old days — like, until yesterday — movie studios judged the success of their big pictures by how much they grossed on the opening weekend. But in the age of Twitter, electronic word-of-mouth is immediate, as early moviegoers tweet their opinions on a film to millions of “followers.” Instant-messaging can make or break a film within 24 hours. Friday is the new weekend.

That appears to be the lesson from the studio estimates issued on July 13 for the weekend box office. Brüno, the Sacha Baron Cohen docu-comedy in which an Austrian fashion journalist shoves his flamboyant gayness in the faces and other body parts of unsuspecting Americans, won the weekend with $30.4 million, a bit above most industry expectations for an R-rated provocation whose star was unknown to the mass audience until his Borat became a surprise hit in 2006, earning more than $260 million at theaters worldwide on an $18 million budget. Yet Brüno’s box-office decline from Friday to Saturday indicates that the film’s brand of outrage was not the sort to please most moviegoers — and that their tut-tutting got around fast. Brüno could be the first movie defeated by the Twitter effect.

Ouch!

“We Live in Public” and the arrival of the new flesh

First of all, my apologies for subjecting you to the picture above of “Luvvy,” the frightening Mrs. Thurston Howell III-inspired clown alter ego of dot-com millionaire turned visionary self-described artiste Josh Harris. However, it’s arguably one of the less disturbing images available from what is probably going to be the most newsworthy film I’ll see at the Los Angeles Film Festival, and maybe anywhere else for a while.

It seemed even more that way when I learned while writing this post that Michael Jackson, an early experiment in living in public, had passed away at UCLA Medical Center — less than a quarter mile from the coffee house I’m writing this from. There’s a weirdness floating over L.A. right at the moment (as well as what sounds like a thousand helicopters).

Ondi Timoner’s “We Live in Public” scored the grand jury prize at Sundance this year, and not for no reason. If there’s any doubt that, despite the lack of flying cars or commercial space travel, we live in a science-fiction world, this film’s look at Harris’s ethically questionable but fascinating experiments in weirder-living through ‘net-driven intrusion does the trick. Philip Dick would be quite comfortable here and the Marshall McLuhanesque nightmare envisioned by David Cronenberg 1986 science-fiction classic, “Videodrome,” with its talk of media-generated “new flesh” seems closer than ever. (Naturally, a remake is in the offing.)

After making a bundle by arriving very early at the commercial and entertainment possibilities of the webtubes, Harris spent a huge chunk of his earnings in 1999 and 2000 on “Quiet.” It was an ultra-“Big Brother” type experiment in which hoardes of NYC hipsters and artists were sequestered in a high-tech bunker and placed under constant Internet surveillance, subjected to Stasi-style interrogations, and otherwise robbed of their humanity with their full cooperation. People who heard about it were able to see everything, and that includes all the stuff you’re thinking of (though judging from the film, a few people at least resorted to the old PG-13 movie trick of making love underneath blankets). Since there was also quite a few guns around, for some reason, it’s no surprise that the NYPD finally broke the thing up, though the situation had already turned a bit ugly, though not gun-ugly.

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La Finke’s Deadline Hollywood Acquired

I’m on the second day of my L.A. Film Festival break (partly inspired by not getting into a key screening tonight), and trying to catch up on other work, so posts today will be smallish. I will be doing a mini box office preview later today for tomorrow’s release of “Transformers: Revenge of the Fallen.” (Just because I don’t care about it doesn’t mean it’s not a big deal, right?)

However, this may strike some as a bit overly “meta,” but I think some attention should be paid to the announced acquisition of Nikki Finke’s Deadline Hollywood blog by Mail.com Media Corporation (MMC). As mentioned by THR, the move appears to be about expanding the reach of the kind of muckraking showbiz journalism that’s made her such a fact of life, like her or not, for those in and around the picture business.

Finke promises that this is no sell out. Also, the addition of a New York-based reporter is, all in all, good news for those of us interested in show business being treated with at least the same seriousness and depth as sports.  They’re both big businesses and the fact that most entertainment coverage is either commentary (like what I do), trade journalism (which by its very nature is supportive of the industry and not particularly interested in investigation), or gossip is not sufficient. I’m still waiting for an entertainment equivalent to “Sports Center” to show up on my TV screen, but in the meantime this may be a very good start for expanding the base of real entertainment journalism in a niche way.

There is No Such Thing as a Free Movie

There is absolutely no doubt that the way we watch movies is changing, and changing fast. The film business has managed to avoid the wholesale slaughter of the music industry because of the higher bandwidth needed to convey a movie and the importance (to some of us, anyway) of picture and sound quality. Still, it’s only a matter of time before movies become easily available online, and distinctions between computers and TV sets as entertainment delivery systems is breaking down rapidly.

Hulu has become huge overnight by breaking down the barrier for TV shows and a limited but interesting selection of films despite sometimes erratic technical performance issues (at least on my iMac). Disney/ABC, Universal/NBC and, of course, the brain eating aliens are involved, though the enterprise was started by a force far more sinister and implacable: Rupert Murdoch’s NewsCorp.

Mashable’s Ben Parr today writes about Epix, which he describes as a joint venture of Paramount, Lionsgate, and MGM. Parr was allowed an early look at the site and, as a film fanboy, it sounds pretty great. If I understand it correctly, you would get the service as part of your cable TV or satellite package and would then be able to choose from a Hulu-like library to view either on television or via computer. If you’re into this stuff, you really should read for yourself. For me, one interesting aspect is that it’s unclear how deep that library would be, both because of marketing issues and because of the various confusing deals that have been struck over the years for MGM’s huge back catalog. (If you’re a masochist or just dig this stuff, here’s a Wikipedia taste.)

It all sounds great to me, except, just as there may be with Hulu, much as I enjoy the service it provides, it strikes me that there could be some anti-trust issues here. Or not. I’m only a lawyer in my mother’s fantasies. Cord Bloomquist, however, has a good rundown of the situation vis a vis Hulu from a libertarian perspective, but I’m no libertarian when it comes to megabusiness. I’m really more of a latte-sipping Hollywood (well, Anaheim) librul who thinks that media consolidation is perhaps the single most serious issue underlying all the other issues we deal with, so I’m a bit suspicious of all the studios getting into bed together for these kind of things.

Short version: Bob the liberal is wary, but Bob the movie geek is intrigued. And, let’s face it, one way or another, this the direction we’re going in. I’d just like to see more flowers blooming.

Seth MacFarlane’s Cavalcade of Cartoon Comedy

It’s funny to think how vastly different Seth MacFarlane’s life would be right now had “Family Guy” not been revived from the dead. FOX would have never offered him a multi-million dollar development deal and a big chunk of their Sunday night primetime block, and he certainly wouldn’t have had the commercial backing from a company like Burger King to launch his own online series, “Cavalcade of Cartoon Comedy.” Unfortunately, if there’s any indication that MacFarlane might be losing his comedic edge, this is it. While the collection of animated shorts is presented in the same vein as the cutaways from “Family Guy,” they mostly just feel like B-sides that never made the final cut. There are a few really good ones in the group (Wile E. Coyote finds Jesus after finally killing the Road Runner, Mario’s advances are squashed by the Princess, and Bob Dylan gets into a mumble fight with Tom Waits and Popeye backstage at his concert), but a majority of them are only giggle worthy. The shorts themselves are pretty harmless on their own, but when viewed in one sitting, they don’t work quite as well. Plus, the idea of having to pay for something that you can watch for free online is a pretty ridiculous concept, so unless you pray at the altar of MacFarlane, you’d be better off watching it the way it was meant to be seen.

Click to buy “Seth MacFarlane’s Cavalcade of Cartoon Comedy”

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