Category: News (Page 121 of 401)

First movie news round-up of the 2010s!

* A side-effect of the slow-going sale of MGM, the slowed down production of  “James Bond 23” and, to some degree, “The Hobbit” writes Anne Thompson.

* I haven’t seen “Up in the Air,” yet, so I’m not reading this item about Jason Reitman responding to a rumored deleted subplot, but there’s no reason you can’t if you’ve seen it or don’t mind big spoilers.

* Inevitably, the apparent mega-success of “Avatar” brings out Hollywood’s copycat side re: 3-D.  Oy.

* Every cinephile’s favorite company, Criterion, plugs their 2010 release schedule via primitivist postcard. Next time, they should go the extra mile and promote their releases via cave painting. Tops on my wish list: the restored “The Red Shoes.”

* I suppose I should wait until I’ve caught up with “Taken” to pass full judgment, but I can’t help but wonder about Paramount’s apparent approach to choosing directors for the latest attempt at Frank Herbert’s “Dune.” It’s not that I think Pierre Morel is a bad director. His “Banluie 13” had some very good sequences, even if its story was the usual Luc Besson not-quite-story. But why does Paramount apparently think this is just another hard-charging action flick?  To me, this is a movie that needs someone with a bit of David Lean or John Ford in him. Giving helmers who are strong on thud and blunder, but not necessarily on story and character, “Dune” is like assigning a smart second-grader to do a book report on The Brothers Karamazov. They might figure out the storyline with a lot of effort, but they’ll never get near the meaning — though I’d be delighted to be proven wrong.

* Flixter is acquiring my favorite review aggregating site, Rotten Tomatoes, from IGN (owned by Murdoch’s News Corp.) A very interesting merger, I think. Dylan Stableford of The Wrap has a brief interview.

“I ain’t much of a lover boy.”

Vice-obsessed film writer Peter Biskind, best known for the book Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock ‘N Roll Generation Saved Hollywood, has a new biography coming out of Warren Beatty.  The most interesting thing to me about Beatty is how an actor who could have easily done just fine on his good looks,  charisma, and acting ability also became one of the most important filmmakers of the later 20th century. But that’s me and I’m weird.

True to form for Biskind, he has grabbed headlines with an estimate that Beatty, who in his prime was definitely noted for being one of the world’s most avid heterosexuals, might have slept with as many as 12,775 women, a number inflated to “almost 13,000” by caption writers. This was all presumably between losing his virginity at 20 in 1957 (kind of late for a future mega-multi-stud, even in the fifties) and settling down with Annette Bening to start a family in the early nineties.

Now, if we simply multiply 365 days by 33 years, the number we get is 12,045. That means that Beatty would have had to sleep with at least an average of a different woman every day, plus add in a good number of various menages or multi-partner days while also managing to help redefine Hollywood movies during the sixties, seventies, and eighties. Not impossible, I suppose but a guy’s gotta sleep and work and eat and stuff.

Naturally, the Beatty camp has shot back and everyone has clarified that, while  Beatty allowed himself to be interviewed by Biskind, the book it is in no way an authorized biography, as some outlets had wrongly stated.

Anne Thompson writes that “Beatty works in mysterious ways.” Absolutely. Anyone who’s seen one of his Barbara Walters interviews can see that the extremely intelligent Beatty is a remarkably cagey fellow in dealing with the gossip-loving press and, based on his reputation, it’s easy to assume that Beatty did sleep with a number of women most of us would regard as enormous, even if this particularly number seems a bit absurd. This, my friends, is not news. Absent moral qualms and given the ability to easily bed innumerable beauties, so, perhaps, would most of us males.

But, what’s really interesting to me is that Beatty’s career-defining role which presumably upped his already massive sexual stock into the stratosphere, was playing a guy who loved exactly one woman and couldn’t even make love to her — not physically, anyhow.  That’s how it works sometimes.

“The Hurt Locker” sweeps the National Society of Film Critics Awards

The National Society of Film Critics has bestowed another big awards win on the Iraq war thriller, “The Hurt Locker,” which won’t hurt its Oscar possibilities.  As with the two other most prestigious critics groups — the Los Angeles and New York film critics — the highly praised tale about a bomb disposal unit during the chaotic early days of the U.S. invasion won the group’s best picture award scroll.

The Hurt Locker

Ironically, according to Peter Knegt of Indiewire, the last time a single film swept the best picture prize from all three groups was when Curtis Hanson’s outstanding “L.A. Confidential” managed the coup in 1997. It lost the Oscar to James Cameron‘s sentimental and spectacular romantic melodrama, “Titanic” — one of the most widely disagreed with Best Picture winners in recent history. With “Avatar” becoming a wide popular favorite and a gigantic hit, a repeat of this scenario is not outside the realm of possibility.

“The Hurt Locker” also won major prizes for director Kathryn Bigelow and star Jeremy Renner, who edged out Jeff Bridges, currently a favorite the win the Best Actor Oscar for “Crazy Heart,” as well as Nicolas Cage for “Bad Lieutenant: Port of Call New Orleans.” For Best Supporting Actor, once again “Inglourious Basterds” break out bad guy Christoph Waltz took the top prize, with another former unknown, Christian McKay, getting the second largest number of votes from critics for “Me and Orson Welles.”  The best screenplay nod went to the Coen Brothers’ ultra-dark black comedy, “A Serious Man.”

Mo'Nique in In something of an upset that, I’m guessing, might not be repeated at the Oscars, Yolande Moreau, of the French language biopic “Seraphine,” beat Meryl Streep in “Julie and Julia” by one vote for Best Actress. Once again, however, talk show host and comedian Mo’Nique added to a truly impressive number of wins with her work in “Precious,” taking yet another Best Supporting Actress prize.

You can see the complete list of winners at bottom of the Indiewire article I linked to above.

Okay, I think we can agree that “Avatar” is a success now

If anyone out there is still hoping for a publicly humbler James Cameron, maybe it’s time to set your sites elsewhere. Despite what you might have read on geek comment threads a few months back, the box office for “Avatar” is only going to bolster the filmmaker’s not entirely unearned overconfidence. Indeed, Cameron’s boot is likely to be mighty wet for a might long time with the pug-like slobber of worshipful suits. Nikki Finke, quoted a Fox executive, thusly:

“Mr. Cameron was king of the world but now has dominion over the universe. And he will own the top two slots on the worldwide all-time box office list!

Sam Worthington and Zoe Saldana, enhanced, in

In its third weekend, “Avatar” raised an estimated $68.3 million, with an outlandishly small 9.7% drop from its take of $75.6 million last week, as calculated by Box Office Mojo. The cumulative domestic box office take for the ecological/human rights themed action fable is now roughly $352.1 million, which I suppose might be a complete recoup of the film’s budget and at least some of the marketing expenses.

That also means it’s already the 15th top grossing domestic film of all time, with an awful lot of commercial life left in it, as the film will almost certainly linger in theaters through Oscar time and beyond. It seems that there is every chance it will overtake the $533.3 million of “The Dark Knight” and I certainly wouldn’t rule out it taking the #1 spot from Cameron’s $600.78 million grossing “Titanic.”

Remember, that mega-melodrama was released in 1997, when the most anyone paid to see a movie was, if memory serves, maybe $7 or $8. I saw “Avatar” over the weekend at Hollywood’s top-of-the-line Arclight complex, where the ticket price on Friday night was $18.50. That’s unusually expensive, but only a few bucks more than a lot of folks are paying nationwide, particularly on Imax screens. Adjusted for inflation, no movie has yet to sell more tickets than the periodically re-released “Gone With the Wind, which was shrewdly withheld from TV screens until the mid-seventies.

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This post is inevitable

This ever-popular clip featuring the song “Jan Pehechaan Ho,” from the 1965 Bollywood murder mystery, “Gunnaam,”  was something I first saw at a friend’s place on a compilation tape of that circulated among hipsters in the nineties. In 2001, director Terry Zwigoff and cartoonist/screenwriter Dan Clowes made it immortal in the West by including it in “Ghost World.”

I love this clip to death despite having seen far more times than I can remember, and it was going to turn up here eventually; I can’t think of a better occasion, can you?

Happy New Year, everyone.

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