Category: News (Page 122 of 401)

Movie news for a dying decade

It’s the very last day of the aughts, the noughties, or the 2000s, whichever term you prefer, and there’s some movie news to pass along.

* It’s a funny day to have a stockholders meeting, but that’s appears to be what Marvel Entertainment did and, yes, they approved the widely heralded Disney merger. Russ Fischer at /film has the details.

* With, as far as I can see, no major wide releases or, as I far as I can tell, even large expansions to talk about and not much other information available, I’m dispensing with this week’s box office preview. However, Jolly Carl DiOrio is here to tell us that this weekend is going to look a little something like last weekend.

That’s not to say there aren’t some new movies out that you can see this week — though you’ll possibly have to live in New York or L.A. to see them. Since I dig Tennessee Williams, I’m sorry to see the bad reviews for “Loss of a Teardrop Diamond. South Korea’s “The Chaser” was a hit at home for director Na Hong-Jin and looks intriguing to me. It has also been optioned for a high profile American remake, possibly involving Leonardo DiCaprio and screenwriter William Monahan of “The Departed.”

the-chaser-movie-3

* Speaking of box office, I’m not sure this is exactly news, but, get this, “Avatar” is doing really well — it just passed the $800 million mark worldwide — and looks likely to continue to do extremely well for quite a long time. Even the busiest man in the world apparently couldn’t wait to see it in the White House movie theater (I wonder if it can show digital 3-D?) Also note that eight year-old Sacha and 11 year-old Malia were allowed to see it even though it has a PG-13 rating . Expect this to be discussed at length on the Sunday shows.

* I had to update yesterday’s post to correct this. Apparently, The Weinstein Company is going to leave “Nine” in the roughly 1,400 theaters it’s in, despite last week’s poor showing.

* It’s now “Sir Captain Picard” to you. Alongside Patrick Stewart, film and theater director Nicolas Hytner (“The Madness of King George”) just got an excuse to be extra snooty.

* Neil Blomkamp of “District 9” wants to make original films that aren’t based on older franchises and, so, has said he’ll stay away from large budgets. He’s not dumb.

Mid-holiday week movie news report (updated)

Somewhat to my surprise, given how slow Monday and Tuesday was, we have some movie news to report. Sadly, the first item is a bummer.

* Our very sincere condolences to the friends, family, and avid readers of writer and horror/gore maven Chas Balun, who died of cancer on December 18th. Probably mostly because of my phobia of the kind of movies he championed, Balun’s name wasn’t immediately familiar to me before this, but clearly the author and longtime contributor to Fangoria and Gorezone was a writer whose work meant a great deal to genre fans as well as a very sincere film geek/cinephile, and for that he has my respect. The Fangoria blog has a very good obituary.

* Sony has not been including a screener DVD for Duncan Jones’ highly regarded science fiction film, “Moon,” in its pre-Oscar promotional package. The result: “Twitter storm“!

Moon

* It’s now Sir Peter Jackson to you.  Considering the positive impact his LOTR tour de force must have had on the New Zealand economy, they might have considered making him king. Okay, New Zealand doesn’t have one. Also, I gather it’s more of a British Commonwealthy kind of a thing.

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Networks in trouble, examining cable format

Fox vs. Time Warner

– Image from the ad Fox has been airing during its programming.

As cable channels continue to attract more advertisers, the networks are losing money left and right. In response, they are seeking higher fees from cable providers. The most recent and publicized situation concerns Fox and Time Warner. Rather than pay Fox’s asking price, Time Warner is threatening to drop the network entirely.

Even worse, their audiences are dwindling and their affiliates are even demanding more money. These problems are causing many network executives to consider switching to a cable format. The change would be monumental.

That will play out in living rooms across the country. The changes could mean higher cable or satellite TV bills, as the networks and local stations squeeze more fees from pay-TV providers such as Comcast and DirecTV for the right to show broadcast TV channels in their lineups. The networks might even ditch free broadcast signals in the next few years. Instead, they could operate as cable channels — a move that could spell the end of free TV as Americans have known it since the 1940s.

The traditional broadcast model works like this: CBS, NBC, ABC and Fox distribute shows through a network of local stations. The networks own a few stations in big markets, but most are “affiliates,” owned by separate companies.

Traditionally the networks paid affiliates to broadcast their shows, though those fees have dwindled to near nothing as local stations have seen their audience shrink. What hasn’t changed is where the money mainly comes from: advertising.

Cable channels make most of their money by charging pay-TV providers a monthly fee per subscriber for their programing. On average, the pay-TV providers pay about 26 cents for each channel they carry, according to research firm SNL Kagan. A channel as highly rated as ESPN can get close to $4, while some, such as MTV2, go for just a few pennies.

Having two revenue streams — advertising and fees from pay-TV providers — has insulated cable channels from the recession. In contrast, over-the-air stations have been forced to cut staff, and at least two broadcast groups sought bankruptcy protection this year.

So rather than wait for the Internet to become a bigger source of income, the networks and local stations are mimicking what cable channels do: They’re charging pay-TV companies a monthly fee per subscriber to carry their programming.

The American Cable Association says its members — mainly small cable TV providers — have seen their costs for carrying local TV stations more than triple over the past three years. The group’s head, Matt Polka, says those fees have gone “straight to consumers’ pocketbooks” in the form of higher cable bills.

All this means for viewers is a higher cable bill. CBS, NBC, ABC, and FOX have always supplied their programming for free. The reason they’ve stayed afloat is because of ad sales, which are decreasing. If they do wind up severing ties with their affiliates and jumping to cable, consumers will have to pay for them like they would any other channel.

It’s a slow day; your reward: “The Making of the Avatar Bootleg”

It really is embarrassingly slow in the movie blogosphere this week. I mean, I could link up to some stuff being generated out in the movie news blogosphere, but it’s just pretty much marking time, especially now that the deadline for movies to be eligible for 2009 Oscar consideration is almost here. Cinephile bloggers are generally just posting holiday greetings. It’s time to watch movies more and write about them less.

In fact, according to Box Office Mojo, there is only one Wednesday release slipping in under the 2009 wire for Oscar consideration tomorrow — and it’s Michael Haneke’s “The White Ribbon.” Since the acclaimed dark drama from noted feel-bad director Haneke is Germany’s official entry for the Best Foreign Language Oscar anyhow, I’m not sure it even matters. (Some foreign film nominees are often not released in the U.S. until well after the Oscars.)

Also, it appears that the studios aren’t even bothering to release anything new on Friday/New Year’s Day.  A good weekend for catching up, which I certainly hope to be doing.

So, let’s make jokes poking fun at James Cameron and self-promoting DVD extras. Via Devin at CHUD.

Advice for directors of new musicals in a wicked little town

So, earlier tonight I went off on a bit of rant inspired by a really strange sounding remark made by show-biz reporter-pundit Nikki Finke to the effect that she thinks “Nine” failed at the box office not because it’s a fairly poorly received film with a vague premise, but because it wasn’t gay friendly enough. No need to repeat my snark-laden commentary, but I thought I’d present the piece below as a bit of food for movie thought.

I debated whether or not to include this sequence in my recent look at musical films of the 2000s, but opted to include another scene from John Cameron Mitchell’s amazing “Hedwig and the Angry Inch,” easily my choice for one of the two or three best musicals made over the last decade or so. Now it seems apt.

Given the storyline, this movie — and this scene — certainly does not lack for the LGBT awarness Finke seems to demand of a modern musical. However, the reason I’m including it here is that, despite my personal opinion that Kate Hudson is way cuter than anyone you’re about to look at (sorry, Kwahng-Yi, et al), I think Mitchell’s approach to filming a musical sequence is pretty vastly superior to Marshall’s — though they are both disciples of Bob Fosse.

Sometimes all you need to do is to keep things simple. So far, I’ve never seen Marshall try that approach. Maybe he’ll give it a shot sometime.

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