Category: News (Page 156 of 401)

Today in casting news

There are times when I really think I shouldn’t mention another single casting related story. There are so many, and the news so often changes several times before the first day of shooting, that it seems kind of pointless. Nevertheless, today brings us a few such items that sort of demand a little attention.

* I don’t think I’ve mentioned the word that’s been floating around for a while now that Brad Pitt will apparently be opposite Robert Downey, Jr. playing the role of Sherlock Holmes’ archnemisis, Prof. James Moriarity, aka “the Napoleon of Crime.” Though it appears he’ll only be in a cameo role, if at all, in the upcoming “Sherlock Holmes” film directed by Guy Ritchie, he’ll apparently be handling head villain duties in the already-planned for sequel — assuming, of course, that the first film is reasonably profitable.

If you can’t get enough of excessively early speculation, Spout’s Christopher Campbell was way ahead of me and rounded that all up as of yesterday. Pitt seems an unusual choice, but he’s always seemed to do better in character roles than leading man parts, and Downey is a genius at bringing a bit of character to leading man roles, so there’s a nice bit of symmetry here.

* If one or even two well known leads can’t guarantee box office success, why not try four and add a cult-comedy kicker? That seems to be thinking behind the latest collaboration of comedy writer-director Adam McKay and post “Land of the Lost“-still-megastar Will Ferrell.

As described by MTV’s Mike Wigler and THR‘s Mike Fleming, “The Other Guys” is a post “Hot Fuzz” spin on the buddy-cop genre in which Samuel L. Jackson and Dwayne “No Longer the Rock” Johnson will attempt to allow a day in the sun for presumably bumbling, non-supercop ne’er do wells Ferrell and Mark “It’s been Decades Since I’ve Been ‘Marky Mark!” Wahlberg.  Only time will tell if this funky bunch — which also includes English comic Steve Coogan of “Tropic Thunder” and “24 Hour Party People” — delivers at the box office, but all five of these guys have proven they can be varying degrees of funny.

For some reason Jackson  hasn’t had much luck with out-and-out comedies. (He once remarked wryly that, “They were all funny while we were making them.”) Personally, I’d like to see him break that particular curse. I’m sure he would too.

Disney, Diablo, and the King Kirby clan’s Spidey claim

Just  a few interesting items in recent movieworld news.

* Nikki Finke selects a possible future “toldja” candidate for the next Disney chairman. Toothy, bespectacled Rich Ross is not a name that’s likely to excite movie fans, as his background is pretty much Disney Channel material. Interesting comments on this one.

* Fresh on the heels of the bad box office of  the graphic comedy horror flick, “Jennifer’s Body,” “Juno” authoress Diablo Cody’s next outing will be a major dialing down of the “edgy” factor, as she will be adopting the Sweet Valley High book series for the movies. I had only heard of the television series until I saw this item, but according to the Heat Vision blog, a humongous 150 of the books were published between 1983 and 2003 and 60 million copies are in print. That’s not small and reminds me of a female-skewing variant on classic pulp series based on characters like the Shadow and Doc Savage.

Attaching Cody to this project strikes me as a canny move. Not only is she apparently a fan, but giving it to a writer with a known “edge” might broaden the appeal to cynics and, possibly, males. I’m far from Cody’s biggest fan, but I’m still a lot more likely to check out the movie than I would have been otherwise.

* Also courtesy of Heat Vision, the Jack Kirby estate law suit against the Disney owned Marvel continues to play out. The THR blog’s Borys Kits and Matthew Belloni say that they’ve seen some of the legal “termination notices” and that this might be a more sweeping suit that was thought. To me, the really interesting portion of this is that one of the notices was for Spiderman, a character Kirby never drew that’s usually credited largely to the eccentric and brilliant Steve Ditko. However…

According to several accounts, Kirby, with his Captain America co-creator Joe Simon, did create a character called the Silver Spider, whose alter ego was an orphaned boy living with two elderly people, and that character was morphed into Spider-Man. Other accounts have the Silver Spider becoming the Fly for another comic company.

It gets a lot broader than that, with the Kirby claiming some possession of several Spidey supporting characters, but that may be just so much legal jockeying. We’ll see.

Oy, what a weekend: A Disney exit and a Toronto bloodbath (Updated)

You may not have heard it, but the movie world’s been shifting on its axis over the last few days. It might not be very pretty.

* Dick Cook, the Chairman of Disney who doesn’t get nearly the amount of press of CEO Bob Iger, resigned just before the start of Rosh Hashanah last Friday night. In the inevitable “did he fall or was he pushed?” argument, the “push” side seems to have the edge and the repercussions are significant, but not completely clear.

The short version seems to be that Cook and Iger simply had different views on too many issues and that the movie side of Disney, Pixar aside, hasn’t been doing quite as well lately as some would like. Cook was, however, apparently rather well liked by such superstars as Steven Spielberg and Johnny Depp, and that might have an impact on such issues as whether not they’ll be a fourth “Pirates” movie. Marc Graser of Variety has more — including the tantalizing suggestion that the job might be Pixar head John Lasseter’s to turn down. Of course, Nikki Finke has yet more of the seemingly endless lowdown.

Johnny Depp and Dick Cook

* Speaking of Disney and its famous recent acquisition, there’s a second lawsuit similar to the one that wrapped a while back regarding the rights to Superman — or not. Let’s just say it’s from the same lawyer and this time the target is Time Warner/DC Comics competitor, the newly Disnified Marvel Entertainment. As described by Nikki Finke, who picked up the story from the comics site Bleeding Cool, this time the creator in question is the late, great Jack Kirby, one of the most respected figures in all of comicsdom and the co-creator with Stan Lee of many of Marvel’s best known characters including the Fantastic Four and the Mighty Thor. (He also co-created Captain America with Joe Simon just months before America’s entry into World War II.) There’s a long history on the whole issue of Kirby’s role in creating these comics in relation to Stan Lee, and there are a number of issues here. Like anything legal, it gets pretty thorny and there’s some pretty “lively” debate among the commenters at Deadline Hollywood.

* Perhaps most significant of all, reporter/blogger Anne Thompson has written a post that’s sent shockwaves through the online film world and probably the actual film world as well — though the news itself is known to those affected. She concisely entitled her post-festival piece “Toronto Wrap: Indie Bloodbath.” The villain here seems to be, at least partly, rising marketing costs — though I’d like someone to explain to me why they are rising as we’re coming out of a recession with a more or less jobless recovery. Nevertheless:

It costs too much money these days to make a dent, a mark, an impression that will create enough urgency in filmgoers to make them go out and see a movie. While Ted Mundorff insists that business is up at indie-branded Landmark Cinemas around the country, and Apparition’s Bob Berney is hopeful that exec changes at Cinemark and AMC will bring a new awareness to booking the right movies in the right locations, the indie market needs help.

With the exception of the high profile deal for a “A Single Man” last week, very little business got done in Toronto and struggling indie filmmakers are, rather than selling their films, paying to have their films released. Terms like “tectonic shift” are being bandied about. Via David Hudson/The Auteurs Daily, we have reaction from my personal movie Yoda, Roger Ebert and Vadim Rizov, who comments on Universal’s recent troubles and its ensuing spending freeze.

The irony is, of course, that all of this comes after a  very successful movie summer. Another chapter, I suppose, in the ongoing realignment of all media, though the timing sure seems odd. Movies will survive, but it’s a most definitely a tough time for all but the most micro-budgeted of indies and the big budgeted productions of ordinary Hollywood, and life’s not exactly a feather-bed for them, either.

UPDATE: Also via The Auteur’s Daily, apparently there’s been some delayed Toronto-related action and some blood just got mopped off the floor. And a little more. Things are, I’m sure, still bad, but perhaps the mood might be a hair less apocalyptic for larger indies.

Waiting for January…

Jones

I have absolutely no clue about fashion. The day after Hollywood awards ceremonies, “Extra,” “Access Hollywood,” and countless entertainment websites are always abuzz with who looked sexy, who looked trashy, who had the most expensive dress, etc. More often than not, I just stare and listen with a blank expression as the lipstick, eye liner, cleavage, flashy dresses, and impossible hairdos meld into a single sexy lady. The brands, designers, and stylists never register with my feeble male brain — it’s just too much to take in. Last night, however, one woman clearly stood out at the 2009 Emmys and grabbed my complete attention.

January Jones is familiar to a large part of the American public as Betty Draper from “Mad Men.” As a constant stream of bedazzled beauty flowed down the red carpet, this slim blonde with the presence of a classic Hollywood starlet caught my eye. Now this is a babe, I thought. I’m sure she was dressed in something revolutionary, but my natural male instincts could only produce this simple thought. Nevertheless, because a few of you may be interested, Jones apparently wore an Atelier Versace gown and accessorized with Neil Lane jewelry and Jimmy Choo “Keenan” sandals. Yep.

As for “Mad Men,” the series performed well again at this year’s Emmys. Despite stiff competition, the show earned statues for Outstanding Drama Series and Outstanding Writing for a Drama Series. Though Ms. Jones didn’t receive a nomination for her popular role, she looked better than anyone inside the Nokia Theatre, which should be worthy consolation. Don’t believe me? Take a look for yourself.

“Meatballs” satisfies family film hunger over tame movie weekend; “Jennifer’s Body” is lifeless

cloudy-with-a-chance-of-meatballs

A CGI-animated family comedy in 3-D performed very well at the box office this weekend and an R-rated horror-comedy tanked. Guess what will be seeing even more of and what we’ll be seeing even less of. Never mind the fact that one film people liked a lot, and the other film they didn’t care for so much. Can’t let a small factor like that affect our views of such matters.

Anyhow, to be very specific, “Cloudy with a Chance of Meatballs” didn’t quite hit the level of financial success predicted in the comments to our pre-weekend post by David Medsker, who also reviewed the film. Not that I’m in much position to lord it over Mr. Medsker, since I opined that “I wouldn’t be surprised to see this one go well over the $30 million mark.” Well, I wasn’t wrong if by “well over” you mean by a tenth of a million. The weekend estimate being reported by our usual suspects (Variety, THR/Reuters, Nikki Finke) is $30.1 million, which basically means the film hit the high end of the insider guessstimates, with a small cherry on top for Sony with it’s biggest animated hit yet.

Next in line is a bit of a pleasant surprise in terms of its second-place rank this weekend, not so much in terms of the amount of cash it actually generated. “The Informant!” managed an estimated take of $10.5 million. That can easily be framed as some kind of demerit on the career record of both star Matt Damon and writer-director Steven Soderbergh. For what it’s worth, the film’s critical reception, as expressed in its Rotten Tomatoes “fresh” rating, has improved considerably (from 67% to 74%) since I wrote this all up very early Friday morning, but Nikki Finke has reported a C- ranking from CinemaScore, so we probably have to chalk some of that up to the fact that Soderbergh is kind of a cinephile hometown favorite. He fails frequently with critics and film lovers as well as the public, but he does so by taking big risks, which we tend to see as highly honorable. To the public, however, an unsatisfying movie is just that, unsatisfying, and this one is seems to be appealing just to a particular niche.

Matt Damon in Nevertheless, an Oscar nomination for Damon — which Nikki Finke notwithstanding is still possible — might help the modestly budgeted fact-based comedy to make a decent profit over the long haul. At this point, however, this is Damon’s second least remunerative opening weekend. (The first was “The Good Shepherd” a dark, realistic spy film that bored even me — a fan of dark, realistic spy films.) I don’t know if there’s any significance to that whatsoever, since the film is obviously playing down the star’s usual areas of mass appeal and especially considering how many star-driven movies are disappointing the studios these days. Is it possible that after nearly a century of movies audiences are finally figuring out that actors don’t make up the stories as they go along and those writer and director people have more to do with a film’s quality? Nah.

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