Category: News (Page 169 of 401)

“Basterds” Redux

As John F. Kennedy used to say, “success has a thousand fathers and failure is an orphan.” One thing’s for sure, both generate a ton of ink.

* I’m still of two minds on this whole Twitter business in terms of whether or not it really speeds up what we used to call “word-of-mouth” on movies. It seems to me we’ve had texting for awhile now, though the proliferation of iPhone and other communication devices is a new factor and must be having an impact. Unlike texting, you don’t pay on a per-Tweet basis, so maybe. Steven Zeitchik, however, is more certain and guess which movie he thinks is the first to officially benefit. (If you haven’t already been spoiled at all on the not-ripped-from-the-history-books ending of “Inglourious Basterds, you might want to skip this one.)

* Tom O’Neil at “The Envelope” speculates on awards strategy for releasing “Basterds” now rather than closer to award season. To me, Weinstein’s decision to highlight the musical “Nine” over this seems more than self-evident. Assuming the film is not a complete turkey, that film’s Oscar chances should be better.

Quentin Tarantino‘s films are not Oscar-friendly. The older members of the Academy have traditionally leaned strongly towards a very traditional, essentially literary and middle-class, view of quality which is pretty much the antithesis of the Tarantino aesthetic. It’s only been through his widespread acclaim and a subtle loosening of old prejudices that his films have gotten the definitely limited Oscar recognition they have and, considering what some regard as a too lighthearted view of World War II horrors, I wouldn’t expect this one to be much different. Of course, with ten nomination slots for Best Picture, and the universal groundswell of acclaim for heretofore internationally unknown German actor Christoph Waltz, two or three nominations (including the semi-inevitable “Best Original Screenplay” nod) are almost a certainty.

If you want an example of the kind of old-school middle-brow snobbery that’s always stood in the way of Tarantino — and Alfred Hitchcock, Howard Hawks, Don Siegel, Sergio Leone, etc. before him —  Peter Bart provides it for you. Some commenters respond aptly.

* Paul Laster at Flavorwire has a revealing interview with production design husband-and-wife team David Wasco and Sandy Reynolds-Wasco about “Inglourious Basterds,” the Jack Rabbit Slim’s set from “Pulp Fiction,” and other films. Considering that they also work with Wes Anderson, these two are crucial collaborators with our most talented masters of movie stylization working, and the current heirs to people like the great Ken Adam, the production design genius of “Dr. Strangelove” and “Goldfinger,” among many others. (H/t David Hudson@Twitter…okay, so maybe there is a Twitter effect on filmgeeks.)

Now is the time at Premium Hollywood vin ve dance.

“Basterds” bash box office projections

Either the Weinstein Company did an extremely good job of managing expectations or box office prognosticators simply underestimated the potential of a director/brand name with a strong suit for entertaining a large swath of the moviegoing public, a premise with fairly proven guy appeal (revenge + WWII), and the additional gravy of an A-lister in a juicy, semi-lead role. In any case, for the second time in as many weeks, a very well-reviewed genre film has significantly over-performed and “Inglourious Basterds” has raked in an exceedingly healthy $37.6 million, say the box office estimates promulgated by THR, Nikki Finke, Variety, Box Office Mojo, etc.

Concerns which I brought up last time that the latest from Quentin Tarantino might be too cinema-esoteric for mainstream audiences have apparently proven to be a non-issue, at least for weekend #1. It’s outstanding foreign performance totaling $27.5 million is no surprise at all, especially given the subject matter and Tarantino’s  choice — which almost certainly made his job harder — to film the movie in several different languages rather than opting for the traditional mid-Atlantic or vaguely nation-specific accents we usually see in American-shot international tales. These are both, by the way, significant financial personal bests for Tarantino. Of course, that’s not “Transformers” numbers, but people will actually still likely be watching this one twenty years from now and probably longer, which means it will be making money for the putatively on-the-edge Harvey Weinstein and Universal for that time as well.

District 9
The same is also probably true in re: Tristar and Sony for this week’s #2 performer and that other transnational “well reviewed genre film” I mentioned above, “District 9.” The South Africa-set, politically charged violent sci-fi action piece brought in $18.9 million for a drop of just under 50% from last week, as there proves to be a market for combining a certain amount of brains with violent brawn. That’s even more impressive given the stiff competition from “Basterds” for largely the same audience.

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Warner Bros. and Turner Broadcasting ink deals with YouTube

YouTube

Warner Bros. and Turner Broadcasting are the latest to come to terms with YouTube, allowing the online video sensation to stream clips from their shows and movies.

The pact, done through the home entertainment and television divisions, is aimed at driving digital sales of Warner movies and TV shows online, the company said. Links on some WB shows already on the site point users directly to WBshop.com, where they can buy DVDs of what they’re watching.

Warner said it will offer clips of everything from CNN news programs to Cartoon Network shows and WB TV hit “Gossip Girl” on a number of different Warner-branded channels on the site.

I don’t understand why they only want to show clips. CBS, Sony Pictures, and Starz run complete episodes and movies on the site, which are supported by pop-up ads and brief commercials. That’s no reason to complain, obviously, as you’re getting the content free of charge. Perhaps they are being cautious, as production companies and networks are waiting for a data-tracking system that tallies television, cell phone, and Internet audiences. Warner Bros. and Turner can then gauge if the audience is large enough online and soon proceed to show full-length features and episodes.

Slipping off for the weekend

A few last minute items as the the inglourious weekend gets seriously underway.

* If the movie world had a “Friday news dump” the way they do in D.C., the news that Martin Scorsese’s Dennis Lehane adaptation, “Shutter Island,” has been moved from November of ’09 to February of ’10 might be so handled. No such luck for Paramount as Nikki Finke, Anne Thompson and Screenrant and pretty much every two-bit blogger on the ‘net, including me, has something to say. This is not the first promising film to be so switched. “The Wolf Man” was also shunted by Universal from the traditionally good-movie rich fall to the less auspicious late winter.

Finances are obviously at the root, but speculation is rife on how the move might have been influenced by the Academy’s recent switch to ten awards annually. In any case, I tend to buy at least two of Nikki Finke’s reasons — a simple delay to spread out the financial cost of marketing the film around during tough economic times (perhaps with the hope of a better 2010) and the fact that star Leonardo DiCaprio wouldn’t have been able to promote the film this autumn. Considering they had people already fairly worked about the film, it’s a definite sign of some fragility, I’d say.

* Will the Twitter effect make movies better? Is it even real? Michael Sragow has a decent, yet frustrating, article on the ongoing topic. (H/t Anne Thompson.)

* After making one deal to direct an extremely ill-advised possible “Battlestar Galatica” re-reboot, Bryan Singer has also signed on to do a remake of John Boorman’s King Arthur epic, “Excalibur.” I love John Boorman’s work in general and also tales of chivalry and swordplay, yet I kind of hate (or at least can’t sit through) the original film, which many love but I find unspeakably turgid. So, I guess I’m open-minded about what Singer will do with it. Can almost only be an improvement for me. Of course, neither of these films may ever actually happen. Bryan Singer’s next film is expected to be “Jack, the Giant Killer.”

An interesting note about the 1962 movie version of the fairy tale (one no one ever bothered to tell me…I always thought it was another name for “Jack and the Beanstalk”). Many musicals have had their songs removed to be released in non-musical versions over the years, this is one of the very few where a producer attempted to turn it into a musical after the fact.

* And because everyone else is giving it to you, I might as well also serve up the trailer for Michael Moore’s new “Capitalism: A Love Story.” It made me laugh but of Christopher Campbell, whose favorite words lately seem to be “dated” and “derivative” (but not “delightful” or “delovely”) and his crew of usual suspects mostly think it disappoints. Do these guys ever like anything? Campbell never seems to. In comments, JoblessInTampa has some choice words for the Eastern film geek elites on the issue of being out-of-step.

Adam McKay talks “The Goods,” “Hansel & Gretel: Witch Hunters”

Anyone who’s a fan of Will Ferrell’s work will recognize the name of Adam McKay. The two have been in cahoots virtually since the day they met…which, as it happens, was the day they were both hired for “Saturday Night Live” (along with David Koechner, Cheri Oteri, and writer Tom Gianis)…and they’ve turned their collaboration on sketches like “Neil Diamond: Storytellers” and the ongoing saga of Bill Brasky into an partnership which has found McKay directing Ferrell in “Anchorman,” “Talladega Nights,” and “Step Brothers.” It’s also led to a successful production company – Gary Sanchez Productions – which has brought us HBO’s “Eastbound and Down,” “The Foot Fist Way,” and, most recently, the used-car comedy, “The Goods: Live Hard, Sell Hard.”

“The Goods” was kinda sorta buried at the box office by the competition, but Roger Ebert describes it as a “cheerfully energetically and very vulgar comedy,” adding, “If you’re okay with that, you may be okay with this film, which contains a lot of laughs and has studied Political Correctness only enough to make a list of groups to offend.” Hey, sounds good to me…and although McKay was doing the press rounds this week in what one presumes was an attempt by Paramount to kick up the buzz for the film a little more, he seems pretty comfortable no matter what the resulting numbers are this weekend.

“Regardless, we’re either gonna be a small little box office surprise or we’re gonna be a cult cable hit,” he said, with a laugh. “It’ll be one way or the other. But it certainly makes us laugh, so we’re happy about that.”

Producer Kevin Messick came to McKay and Ferrell with the script for “The Goods” with star Jeremy Piven already attached, and after giving it a read, McKay couldn’t have been more enthusiastic about the actor’s involvement.

“Oh, my God, if there’s ever a role that you’re going to have him play coming off the success he’s had as Ari Gold (in ‘Entourage’), it’s this role,” said McKay. “And we thought, ‘Well, we can do a rewrite on this, kind of gussy this up, get people we like in it, and sort of approach it through improv.’ Will and I had written a car-salesman script about five or six years before that, which Lorne Michaels tried to get made at Paramount, but it was a weird time over there, and we couldn’t get it made, and it was very frustrating. So we saw this script come through, and we thought, ‘Well, this is perfect.’”

Some may hear about the concept of this film and think, “Didn’t they already do this with ‘Used Cars’?” Although McKay is a fan of the classic 1980 Robert Zemeckis comedy and admits that it’s one of the reasons that the idea of the movie was so attractive to him, he estimates that 8 out of 10 people don’t even remember the film.

“It’s a film-fan movie,” he said. “I love it, of course, but it was so long ago. It’s kind of amazing that there really haven’t been many car-salesman movies since then. There was ‘Cadillac Man,’ but that wasn’t really about car sales. My favorite salesman movies are ‘Tin Men’ and ‘Glengarry Glen Ross,’ and that’s really what got us excited about it. If anything, ‘Glengarry Glen Ross’ was a huge influence on this movie. Even though this movie’s raunchy and absurd and silly, that vibe is still very funny to us.”

And so, by many folks’ estimations, is “The Goods,” although – appropriately, given the subject of the film – your mileage may vary.

McKay is currently in pre-production for his next directorial effort, “The Other Guys,” but that doesn’t mean that he doesn’t have his eye on what project will be next on the horizon. He’s excited at the prospect of branching out beyond his usual realm, and in addition to the sci-fi satire, “Channel Three Billion,” he’s particularly chomping at the bit to get the ball rolling on the intriguingly-titled “Hansel & Gretel: Witch Hunters,” from writer/director Tommy Wirkola.

“I love that movie,” said McKay. “That’s exactly the kind of shit where, like, it almost veers a little more toward Sam Raimi Land. Yeah, our production company, Gary Sanchez, is producing that. We saw ‘Dead Snow,’ the movie that Tommy did first, and Kevin Messick had Tommy come in, and he told us about this ‘Hansel & Gretel’ idea, and we were instantly, like, ‘Oh, my God, we’re doing that.’ And then he wrote an amazing script, so I’m as excited about that as anything we’re doing.”

Be sure to head over to Bullz-Eye.com next week for the full interview with McKay, where discusses the history of his collaboration with Ferrell, the status of “Anchorman 2,” and what we can expect from the second season of “Eastbound and Down.”

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