Category: News (Page 165 of 401)

Neverending battles

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Some continuations of ongoing tales in the never ending movie wars…

* Naturally, Nikke Finke has more on the Disney-Marvel deal. Of course, there’s a discussion of Universal’s currently existing use of Marvel licensed characters at theme parks, which Finke points out is pretty much a job security plan for lawyers. Disney may spend decades slowly bringing the characters fully on board. Much more interesting to me is another post on the background of the deal. It’s been brewing for nearly a decade, but she reminds us of the genetic link Iger has to the history of comics.

His late great-uncle (his grandfather’s brother) was illustrator/cartoonist Jerry Iger, who partnered with illustrator/cartoonist Will Eisner back in the 1930s to create — you guessed it — the comic book packager Eisner & Iger Studios...And their first hire was Jack Kirby, who as you know later became the co-creator of many of Marvel’s best known characters with Stan Lee.

Kirby almost needs no introduction. Eisner, for those of you with less than obsessive old school comics knowledge,  is probably the comic book equivalent of John Ford with a dash of D.W. Griffith in terms of his influence on the medium as an artist/writer. He was also a very successful entrepreneur on various ends of the comic book industry for decades. (He’s best known as the creator of “The Spirit,” a great series which may take years to recover from the damage done to its memory by Frank Miller’s reprehensible film version.)

* I haven’t really had the chance to geek out with either friends or even online about how much I loved “Inglourious Basterds.”  If you were similarly entranced and want to read more, more, more about the movie, you need to check out last week’s ‘net colloquy between Dennis Cozzalio of Sergio Leone and the Infield Fly Rule and Bill R. of The Kind of Face You Hate. It’s an involved discussion that went to some surprising places as it addressed some explosive comments by film historian/critic Jonathan Rosenbaum, who eventually was mensch enough to join the discussion.

It’s a lengthy three part discussion at two sites, but probably the easiest place to start is the final post, because it has links to the previous three. Got it? There are some fairly significant spoilers hidden here and there, for sure, but if those don’t bother you too much and you haven’t gotten around to seeing the movie, you still might want to check it out. I was already spoiled on the main ones before I saw the movie, and it didn’t harm my enjoyment of it.

* One of the main villains of “Inglourious Basterds,” who has recently been making a name for himself one of the more recognizable ‘net commentators on geek matters, weighs in on last weeks “Avatar Day.” (H/t Den of Geek.)

The post-Disney/Marvel merger world…

Is starting to look a lot like the one we knew before it.

* We’ll start with the good news. It’s been a very good summer, money wise, at the movies. In fact, the best ever…well, skyrocketing ticket prices help, but still.

* Nikki Finke might have had 11 updates to her initial post about the purchase, but she’s already moved on to bad blood in the Writers’ Guild election and, of course, her latest snit. This time, she’s furious about a new system of Oscar voting in which voters will name list the films in order of preference, so that a film with a huge number of second choices could beat a nominee with most first choices, if you follow. Typically, Anne Thompson‘s view is more sanguine. Personally, I think it will just underline the Academy’s inherent conservatism in choosing winners. Those of you hoping for “Inglourious Basterds” to be Best Picture were just dealt a serious blow. Since when was being the year’s Best Picture had that much to do with actually winning it?

* Of course, even as a good chunk of L.A. burns — a summertime tradition around these parts — and even our TV and radio transmitters, and the historic Mt. Wilson observatory are threatened, there’s no stopping the fannish speculation from the both the comic book/movie fan crossover world and more established bloggers. Christopher Campbell chronicles both today. Personally, I’m having some second thoughts on my own politically-based negativity about it this morning, though overall media consolidation is a real problem in terms of limiting the “marketplace of ideas.” This is just far from the worst example.

* And, on the heels of this comes talk of another early franchise reboot, this time of the Fantastic Four. Okay, but if they’re really like to save some money and offer mainstream audiences something that will really surprise and delight them, I believe a finished film is still sitting in the can, all ready to go.

Are we excited about “The Descent: Part 2”?

The Descent

Here’s the synopsis taken from the movie’s IMDB page:

The sequel will continue the story of Sarah, who as the only survivor of an all-female caving expedition gone horrifically wrong, suffers severe psychological trauma. Unable to speak, she accompanies a rescue team back to the cave, but events once again take a sinister turn.

THE DESCENT 2 picks up immediately after the events depicted in THE DESCENT Sarah (MacDonald), emerges alone from a cave system following an expedition with her five friends in the Appalachian mountains. Distraught, injured and covered in the blood of her missing companions, Sarah is incoherent and half-wild with fear. Skeptical about her account of events and convinced Sarah’s psychosis hides far darker secrets, Sheriff Vaines forces her back into the caves to help locate the rest of the group. Trapped by falling rocks, the rescue party are driven deep into the caverns, and as one by one the fate of the missing girls is revealed, Sarah is forced to confront her deepest fears.

By the look of the trailer below, the sequel appears to be much more like your standard thriller than the character-driven original. What made the original so great was the underlying tension between the characters of Sarah and Juno. The scares and violent scenes didn’t just shock you, but they each actually contributed to the plot because of the subtext that existed. The original’s writer/director Neil Marshall didn’t have his hand in the creative process of “The Descent: Part 2”, and it shows. I’ll still check it out, but I’m not expecting much. To this day, “The Descent” is only the movie I’ve seen where a good portion of the audience walked out of the theater because of how frightened they were.

Disney buying Marvel! World as we know it ends! (Updated)

Okay, only the first part is true, but it’s pretty weird as it is — the House of Ideas and the Mouse House are likely to become one. It’s still quite early here on the West coast  and all we have right now are mostly still the raw public facts as reported in the press release which is being carried this morning by Comic Book Resources (CBR), Variety and Nikki Finke.

Unless I’m missing something, the deal involves a massive buy-out of Marvel stockholders to the tune of $4 billion and it still may have to clear some antitrust hurdles. This is obviously my bias talking, but I hope the Obama administration’s regulators take a good look at this deal before allowing it to go through. In my opinion, Disney is already far, far larger than any single media company should be allowed to be. On the other hand, the deal with Marvel is obviously not on the scale of Disney’s past deal with ABC in terms of its size and scope and they aren’t a direct competitor.

Marvel’s real strength is the wealth of characters mostly created by Stan Lee, Jack Kirby, Steve Ditko, and others. If it makes Marvel a healthier enterprise, perhaps it’s not such a bad thing. Finke is entirely bullish on the deal and praises Disney head Robert Iger for it, but I’m not sure we share the same exact priorities. We do both wonder if the association with Disney will somehow lower Marvel’s cool-factor among the young geeks. As for antitrust, I’m waiting to hear what the people who actually understand this stuff have to say, but I guess if we allowed the ABC deal to go through, this is nothing.

The word at this point is that Disney will allow it’s currrent licensing and third party deals — including fimmaking ones with the big studios it’s been working with up to now — to stand pat for the time being. It sounds to me, however, like the Mouse House might well be stepping in there at some point and a more recent item from Marketwatch definitely allows for that possibility. It also says that some lesser known Marvel characters might also be hitting silver screen. So, I guess Ant Man and Millie the Model might finally see their name in lights.

All I know for sure is that it’s feels almost like a sign of the geek apocalypse (the “geekalypse”?) to have Spiderman, the X-Men, Iron Man, and the Mighty Thor under the same roof as Mickey, Donald and Winnie the Pooh.  On the other hand, the distance between the Mickey Mouse Club and the Merry Marvel Marching Society might not be all that great in some ways.

UPDATE: Thanks to BKS for sending this NY Times article with more info. A couple of quick lifts: Marvel characters will start popping up at some Disney-owned theme parks fairly soon and Paramount may have the most to lose as Disney gradually brings the Marvel film franchises in-house.

3-D “Final Destination” wins horror franchise battle

The Final Destination

Apparently the lure of bizarre deaths in 3-D was somewhat stronger than more traditional forms of slaughter this weekend. “The Final Destination” won the violent, R-dominated movie derby this weekend and died its way to an estimated $28.3 million for New Line. So says THR/Reuters and Nikki Finke, with Ms. Finke mentioning those 3-D ticket prices as its main advantage against  The Weinstein Company’s latest return to the Michael Myers well, “Halloween 2.” The slasher flick came in at the #3 spot with an estimate of $17.4 million, which actually could have been a lot worse. Judging by the post-release reviews that are trickling in at Rotten Tomatoes, the good will Zombie earned from gore-friendly horror fans on “The Devil’s Rejects” seems to have largely dissipated with this entry. Moreover, Finke’s post and comments are full of remarks on the oddness of facing off two scare-franchises on the same weekend when many students start returning to school. And there’s also the matter of the Weinsteins competing against themselves.

Melanie Laurent
And that brings us to “Inglourious Basterds,” which held well at $20 million on its second weekend, dipping a better-than-average 47% according to Pamela McClintock of Variety, which will no doubt be assuaging whatever disappointment Harvey Weinstein may feel re: “Halloween 2.”  The performance of “Basterds” is pretty magnificent considering last week La Finke and her sources were talking about a huge 70% drop because of the perhaps overestimated returning-to-college factor and, I’m guessing, their prejudice that “Inglourious Basterds” simply can’t possibly be an ongoing moneymaker in the U.S. market.

I caught up with “Basterds” yesterday. I guess it’s no surprise that a Tarantino-positive cinegeek with a heavy retro tendency like myself would hugely enjoy this borderline surrealist World War II opus.  However, it really was something to be in the presence of a very mainstream, semi-surburban cineplex audience rapt with attention during long stretches of subtitled dialogue in a film full of the kind of homages and film references that are supposed to ruin a movie’s chances. Proving, I suppose, the power of stories and characterization to overcome an audience’s prejudices, if not the cynical preconceptions of those inside the Hollywood bubble. Of course, it’s just easier to blow things up to please a young and male audience, and Tarantino does that, too. So there’s your formula. The other well-reviewed violent genre actioner, “District 9,” held on as well in its fourth week with an estimated $10.7 million.

Taking Woodstock Ang Lee’s “Taking Woodstock” was pretty much a bust. It did even less well than I guessed Friday and made only an approximate $3.7 million, though in fewer theaters than the other major releases. To echo myself, fare aimed at older audiences needs favorable reviews and/or buzz to really succeed, and the mild reaction to this fact-based comedy apparently wasn’t cutting it. Even so, this film probably should have started out with an arthouse release.

Speaking of the arthouse circuit, as often happens specialty fare hosted the biggest per screen averages of the week. The documentary “The September Issue” featuring Vogue editor Anna Wintour did smashing business in its first weekend in six New York theaters, with some $40,000 per screen according to Box Office Mojo. Presumably every fashionista in the area turned up to see what I guess might be marketed as the real life version of “The Devil Wears Prada.” Not quite as great, but still at least as strong as a stocky sports geek’s headbutt, was the Bullz-Eye/PH approved “Big Fan,” which did a healthy $13,000 on each of its two coastal screens this weekend.

Patton Oswalt and Kevin Corrigan in

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