Category: Reviews (Page 37 of 120)

Sticks and stones

G.I. Joe: The Rise of Cobra” director Stephen Sommers, from an interview with Michael Fleming:

I don’t think the mainstream critics are relevant here, they have criticized themselves into irrelevancy.

I make the kind of movies critics love to hate. They love dark and depressing movies…All the internet movie haters love this movie.

These critics have become a dying breed, and part of it is how much more vicious and personal they’ve become. They attack the directors, personally.

Glenn Kenny has some wise words on the whole “wither the critics/wither the kids” thing.

True Blood 2.8 – Having Her On My Brain’s Like Getting Hit By A Train

First off, my apologies for the delay in getting this week’s blog onto the site. If you’ve been following my various posts on Premium Hollywood over the course of the past two weeks, then you know that I’ve been out in Pasadena for the Television Critics Association press tour. The festivities wrapped up on Saturday night, and I spent the majority of Sunday traveling home to Virginia, and when I got there, I must admit that seeing my wife and daughter again took precedent over watching “True Blood,” and even after my daughter went to bed, any desire to watch this week’s episode with my wife was conquered by an undeniable need to sleep. I’m still feeling way off my game, thanks to the wonders of jetlag, but I’ve finally had a chance to watch last night’s episode. My apologies, however, if things aren’t in-depth this time around as usual.

This was a Godric-heavy episode, the first we’ve ever had, and it was nice to see this mysterious character we’ve heard so much about become more fleshed out. Despite everyone giving us the impression that he was this old-school bad-ass of a vampire, it turns out that he’s actually more thoughtful than any of the vamps we’ve seen to date, having become highly interested in the possibilities of a vampire / human alliance. I always seem to be let down whenever I have high hopes for characters on this show, but it would be nice to think that he’s shaping up to be the Martin Luther King of his people. Between his ending of the battle in the church, giving Hugo a reprieve, and giving Lorena that smackdown at the party, he just spent the episode getting more and more awesome.

Jason had a lot of good material in this week’s episode, from his stupidity (I had to pause the TiVo until after I stopped laughing about his response when Sarah told him he was worse than Judas: “Why, what’d he do to you?”) to his attempt to bluff his way through the lockdown (“”I’m a cadet with the Light of Day Institute, I’m strapped”) to his smackdown of Reverend Steve (“I reckon I’ve been to Heaven: I’ve been inside your wife”), but let us not forget that he was also responsible for doling out one of the most awkward hugs in recent TV history. Kudos to Bill for taking it in the spirit in which it was intended, even if he couldn’t muster much post-hug enthusiasm. It looks like the Jason / Erik relationship is also burgeoning, so I’ll be curious to see where that goes in future episodes.

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Hollywood manages its baser instincts (updated)

Yes, it seems to be a day when we’re avoiding the worst that the film biz has to offer. Take that Sammy Glick! Maybe.

* Notorious screenwriter Joe Eszterhas, who brought the world such morality plays as “Basic Instinct” and “Showgirls,” is handling the kind of character/person you’d never expect him to write about, or meet. A virgin. Apparently the once severely overpaid, self-aggrandizing writer not exactly known for any particular virtues of any particular sort became a born-again Catholic following a bout with cancer. Naturally, a recent memoir tells of his conversion.

* I’ve never watched the most recent iteration of “At the Movies,” but I’m happy to say that the next version will be hosted by the New York Times‘ A.O. “Tony” Scott and the Chicago Tribune‘s Michael Phillips. They had both been my favorite subs for the still-going-strong but voiceless Roger Ebert during the final days of the old show’s run, and having them both return gives me a small but solid happy. These guys know movies and should be worthy successors to Mr. Ebert and the late Gene Siskel. I’ll be tuning in.

UPDATE: Glenn Kenny weighs in on “when good things happen to good film critics.” He also has something to say about the predecessors…and one of their daddies. It’s critical go-time. A humorous must for fans of critic-on-critic pugilism and praise.

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One born every minute

Let’s face it, the movie business is all about roping in the suckers, but I mean that in the nicest possible way.

* Several Comic-Cons ago, a rumor was about that Marvel was going to stop publishing comic books entirely and concentrate strictly on making movies and generally just marketing the hell out of their characters. This struck me as patently absurd because, even if the tail is wagging the dog, you still need the dog. Nevertheless, fiscally speaking at least, Marvel’s waggable rear is definitely stronger than its canine according to Variety‘s Marc Graser:

….Licensing is expected to generate the most coin for the company during the year, with up to $215 million, followed by movies and TV shows at up to $150 million, and comic books with $120 million.

* “G.I Joe” is a chicken-hearted pantywaist when it comes to critics. It’s kind of funny because “Team America” got really good reviews overall and from all appearances this is pretty much exactly the same movie.

* Why is Anne Thompson so much cooler than other film journos? We’ll, she’ll go to see Bollywood movies in unfashionable Artesia, relatively close to my highly uncool zip code, for starters. She also has three great trailers, including one for the Coen Brother’s next film. “The rabbi is busy.”

* Apparently piggybacking somewhat on his Oscar night success, Hugh Jackman is going to star in “an original contemporary musical” for Fox based on the life of P.T. Barnum, the circus impresario perhaps most famous today for opining that a sucker is born every minute. (I’d go for each second, myself.) I’m not sure what they mean by “contemporary” given that Phineas T. Barnum died in 1891, but I take it that “original” is meant to differentiate the film from the 1980 Broadway musical which starred Jim Dale and Glenn Close. Apparently Anne Hathaway, who had also had a bit of success in the Oscar’s opening number, will be joining him as singer Jenny Lind (and there’s talk of a new version of Rodgers & Hammerstein’s “Carousel” also to pair Jackman with Hathaway).

The music will be by some guy named Mika, who I had never heard of until just now but whose opera background and overall approach reminds me of a more classic R&B/funk and T-Rex/Bowie influenced Rupert Wainwright. After watching the video below, I’m largely sold though I hope he tries to avoid anything too obviously anachronistic. (I’m not sure Barnum should be getting funky on us, though I love the funk.) The high quality of the music and Mika’s way around various types of retro sounds makes me think he might be just right for the project. Also, naming your song “Grace Kelly” won’t ever hurt your standing with me.

True Blood 2.7 – Her Lips Are Warm (While Yours Are Cold)

There are no two ways around it: last night was a very strange night.

I’ll post more details about it later, but in a nutshell, the Television Critics Association Awards took place on Saturday, Aug. 1st, where “True Blood” was named Outstanding New Program. As with all good awards shows, there was a pre-show party and a post-show party, and although neither Anna Paquin nor Stephen Moyer were available to stand with executive producer Alan Ball as he accepted the award, several of their fellow cast members were in attendance, including Sam Trammell, Nelsan Ellis, Rutina Wesley, and Michelle Forbes. Actually, Alexander Skarsgard and Deborah Ann Woll were there for awhile, too, but Mr. Skarsgard disappeared moments after the ceremony was over, and although Ms. Woll stuck around for a bit longer, she managed to slip out before I ever had the chance to speak with her. I hope you’ll enjoy the photos of the folks I did manage to chat with, though. They’re scattered throughout this week’s entry.

Speaking of that, I should probably offer one small warning: I’m out in L.A. for the TCA press tour, and although I had an advance copy of tonight’s episode to watch, I’ll be the first to admit that my mind was going a dozen other places while I was watching it. So if I missed out on anything or perhaps misinterpreted something, let me go ahead and apologize right now.

And, now, on with the show…

Well, obviously, we knew Sam was going to find a way to escape from his captivity, but they managed to wring the suspense out of it nonetheless; we even saw him manage to transform into something other than a dog – a significant accomplishment, I dare say – and fly away to safety. From there, Sammy got his gun and made it quite clear that he wasn’t afraid to use it, but…am I the only one who thought he was heading off to find Maryann? Not that it didn’t make sense that he’d go after Daphne, given that she’d committed such a personal betrayal, but I was still figuring that he was heading to take down the big dog. Daphne managed to stay pretty cool for somebody who was having a gun waved in her face, but Sam was plenty emotional for the both of them. How could you not feel bad for the guy? He thought he’d found his soulmate. Instead, he got stabbed in the back…which is why there was a certain temptation to cheer a short while later, when Daphne got stabbed in the front. Not that you didn’t know it was coming. I think we can all agree that there has rarely been a scene featuring the line “thank you for your service” which has ever ended well for the person being thanked. As far as Maryann, she’s clearly not God, but…what is she? A maenad? Well, I can’t say as I expected Greek mythology to tie into this storyline, but it’s certainly getting more intriguing all the time, that’s for sure.

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