Category: Sci-Fi Movies (Page 67 of 93)

Post-Turkey Day film news bites

A few items as Hollywood finishes digesting its turkey and stuffing.

* Paramount has picked up “Area 51,” the science fiction follow-up to the ridiculously profitable “Paranormal Activity” from writer-director Oren Peli. Somewhat to my disappointment, this one will also use the “found footage” gimmick, though I guess we can assume that with an exponentially larger budget — $5 million (about enough to pay for craft services on some films) as opposed to $15,000 — Peli will at least attempt to spread his wings creatively. One reason to give him props, however, is that the film has already wrapped principal photography. We can’t accuse the Israel-born former video game designer of failing to strike while the iron’s hot!

Matt Damon and Julia Styles in * It appears that The Playlist broke the story that it appears that the very talented Paul Greengrass has left the helm of “Bourne 4” and if he goes, Matt Damon may not be far behind. Still, at this point it’s a tale without an ending in more ways than one

* Kim Masters considers “Avatar” and Robert Zemeckis’s motion capture and 3-D work as featured currently in “A Christmas Carol.” To me, they’re creatively too different beasts in that James Cameron‘s creations aren’t trying so hard to be realistic, which I think is the real reason for the “ugly” problem with the creator of Roger Rabbit’s more recent work. As for the “Avatar” characters, I’m not sure I’m going to love them yet, either, but we’ll see when the movie’s out. I’m also not at all sure that movies need to be revolutionized in quite this way.

* Over at Film Threat, Gary Morris of the highbrowish Bright Lights Film Journal is interviewed. Among the topics: interviews like this one. Don’t fear the meta. (H/t The Auteurs on Twitter.)

* It technically ended yesterday, but the Boris Karloff Blogathon, hosted where else but at Frankensteinia, lives on with tons of material still coming in submitted by innumerable bloggers about the late, great character actor who originated the role of Frankenstein’s monster in 1931. Definitely worth many looks.

The vocal there is quite obviously reconstructed using the original recording by Bobby “Boris” Pickett. If you want to hear the actual vocal from the 1965 episode of “Shindig” featuring the real Boris Karloff, you may hear it here.

“New Moon” rises while sinking; Thanksgiving box office gets hit on “The Blind Side”

My Wednesday prediction that this would be a healthy Thanksgiving weekend at the box office certainly proved true — and it was nice to see it wasn’t at the rest of the economy’s expense: holiday shopping actually went up slightly this year and went up a lot more virtually. Also, the movie everyone expected to hit number actually did one hit number one. However, looking beneath the surface just slightly, movie consumers were making some interesting choices.

The argument prognosticators were making last week was that Summit’s “The Twilight Saga: New Moon” pretty much had to come out on top because, considering its $142 million+ opening weekend, even if it suffered a catastrophic drop in its second weekend, it still would be ahead of everything else, and that’s pretty much what happened. The vampire-werewolf-human love triangle dropped a massive 70% but, as reported by Box Office Mojo‘s weekend chart and trade mag writers jolly Carl DiOrio and Pamela McClintock, it still earned an estimated $42.5. That was a mere $2.375 million ahead of this week’s surprise #2 film, “The Blind Side,” which not only actually won the box office race on Thanksgiving day (which is not included in the weekend tallies) but came refreshingly close to winning the weekend with $40.125 million. The five day total for the films offer a bit more air between the #1 and #2 spots, with an estimated $66 million for “New Moon” and just over $57.5 for “The Blind Side.”

blindside

The impressive aspect of the Sandra Bullock-led sports film/cross-cultural family drama combo is that it did something I don’t remember seeing whenever I’ve been paying close attention to grosses.  In a world where we think it’s good if a film drops less than 45-50% on its second weekend, “The Blind Side” actually climbed 17.6% on its second go-round without a significant expansion (it went from being in 3,310 theaters to 3,340). I haven’t seen the film but I will say that this seems to be a sign that it’s possible what attracts most audiences today isn’t so different from what attracted them 50 or 75 years ago.

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A Preview of Bullz-Eye’s Chat with Stephen Lang of “Avatar”

Stephen Lang is having a heck of a good year. Not only did “Public Enemies” find him once again teaming up with his old buddy Michael Mann (the two worked together back in the day, on “Crime Story” and “Manhunter”), but he also picked up a plum role in “The Men Who Stare At Goats.” And how’s he going to be following those two solid gigs? By turning up in one of the most anticipated films of the year: James Cameron’s “Avatar.” Bullz-Eye had a chance to chat with Lang about his experience as a a player in those films, as well as some of the many other roles he’s played in his career, including his work “Gods and Generals,” “Last Exit to Brooklyn,” and others, and you’ll be able to check out that chat in its entirety next week. But as a Thanksgiving treat, here are a few quotes to get you psyched for the full feature…

* On finding his way into “Avatar”: “I’d auditioned for ‘Aliens’ about 20+ years ago, and (James Cameron) talked about that in our conversation, so, y’know, I’ve kind of gone on record as saying that this was the world’s longest callback. But what happened was Margery Simkin, who is his casting director on Avatar, showed him…for my show (‘Beyond Glory’), the ad in the New York Times and other papers is this kind of really hard-nosed military shot, very macho, and Margery said, ‘Hey, Jim, look at this!” And he went, ‘Huh. Lang. Huh.’ And then at the same time, they both kind of went, ‘Quaritch!’ So that was it. It was very fortuitous, you know?”

* On first reading the script: “Because he’s an excellent writer and extremely descriptive and specific, (James Cameron) paints a very, very clear picture of what’s happening and what this world is. And, you know, it never for a moment entered my mind to doubt that he would make it real. I mean, that may be because I have a good kind of reader’s imagination, in a way. You know, I’m able to visualize. Like, I believe magicians. I’m a good audience for magic and stuff. I tend to make that bargain with a writer quite easily, and so it just never occurred to me that it would be anything less than what it said it was going to be on the page. And I look at that now, and I think, ‘God, that was kind of lamebrained of you. This is weird, difficult stuff that doesn’t exist.’ But he’s got such a great team of colleagues and people who are committed to his vision on this thing that it’s all come together.”

* On his character, Col. Quaritch: “He’s an old Marine, and he’s very hard and tough, he’s very skilled, he’s very ironic, he’s very sharp. And he’s something of a cynic, which is never a good thing to be, but he is. He’s got kind of a jaundiced view of the mission now, because it seems doomed to failure on a daily basis, and his job is basically to keep his people alive. It’s a flat-out hard thing to do, y’know? And there’s kind of a hearts-and-minds attitude that he really can’t cope with. It’s difficult to do your job when you’re interested in preserving more than protecting. So I think it’s kind of brought some hardness and change in him. It just makes him into a pretty tough guy. But at the same time, there’s so much that’s admirable about him, which makes him kind of intriguing, because I don’t think you doubt his resolve, you don’t doubt his personal qualities or his courage or honor. He kind of carries the vestiges of the Marines with him.”

* On getting in shape for the role: “I was relatively buff, because I was working in a tanktop half the time on stage, anyway, but I just went kind of into hyperdrive after that and really worked to beat that old body into shape, to get that carcass where…I didn’t want to be looking at it and see anything hanging where it shouldn’t be hanging.”

* On what he’s seen of the film thus far: “When you see it in its final form…and there are many pieces that I’ve seen in their final form…it’s quite stunning. You just kind of go, ‘Oh, yeah. That’s it.’ But, still, even what I’ve seen it in its final form, I haven’t seen it in, say, IMAX, let alone IMAX 3D. I haven’t seen it on the big screen. I haven’t seen it with Horner’s music. You know what I mean? So there are things that I haven’t seen. But what I have seen…I mean, I remember looking at pieces of it over two years ago, when I was looking at some of it in fairly rudimentary form, just sort of animation templates, and even that stuff was exciting to me. You could just imagine what it was going to be like, and to watch the metamorphosis has been totally cool.”

* On how people should approach “Avatar”: “Just approach it like a movie and enjoy it. Buy your popcorn, put on your 3D glasses, and take the ride. And then when you’re done, come out, talk about it, and then go back and see it again, because there’s a lot to see, y’know? (James Cameron) makes films that are popular for everybody, but they’re also very, very much for audiences of sophistication and discernment. There’s a lot to see on his pictures. I mean, look, I think it is unrealistic to think that you can do kind of ‘Titanic’ numbers on it, but nevertheless, that’s what you strive to do. But for my part, I just wanted to play my role in this whole process as fully and as well as I could. I just wanted to hold up my end of it.”

Check out the latest “Avatar” trailer – the three-and-a-half minute one – by clicking here, and be sure to keep your eye on Bullz-Eye for the full-length chat with Stephen Lang!

No one wants to be a turkey on Thanksgiving

Kristen Stewart and Robert Pattinson allow themselves a smooch in Even as the president pardons a pair of prime gobblers who will  instead be going into show business at Disneyland, there’s a good chance that at least one major release this weekend may meet a less charitable fate as a fierce battle rages for the #2 spot. Yes, the #1 spot seems to be reserved, trade mag prognosticators jolly Carl DiOrio and Pamela McClintock agree, for “The Twilight Saga: New Moon.”

Between repeat hardcore “Twilight” fangirls, their friends, and curious onlookers it really seems like a lock for the continuing vampire/human/werewolf romantic menage, considering the film’s spectacular $142.8 million domestic performance last weekend. Which is not to say there won’t be some success to go around this tme. Considering the longest official holiday weekend on the calender — and a “black Friday”-depressing economy that may put many folks in the mood to delay their shopping as long as possible — it seems more than very likely that there will be some nice money to be made at the nation’s multiplexes tonight through Sunday. (Hardcore talliers will be concentrating on the three day period starting Friday.)

The obvious favorite for the #2 spot, if only because it’s going to be booked into 922 more theaters than the next biggest wide release, is Disney’s PG-rated all-star comedy “Old Dogs.” With John Travolta and Robin Williams headlining with a premise that sounds like “Two Men and Two Six Year-Olds” and not much else in the way of broadly appealing, family-friendly comedies out there, this sure seems like a  sure thing in theory.

The slapstick-laden comedy, however, scored an abysmal 6% “fresh” rating at Rotten Tomatoes, but what of it? Director Walt Becker’s previous all-star comedy outing, “Wild Hogs” — the two films actually rhyme — was roundly reviled by most critics and then grossed over $168.2 million domestically.

John Travolta and Robin Williams are

Still, wouldn’t we all rather to win pretty? Our own David Medsker makes a salient point:

…You would think that Disney might step up their game a little bit after seeing just how successful their partners at Pixar have been by not taking the easy way, by using their early success to branch out and make some highly entertaining but also downright challenging movies (“WALL·E,” “Up,” “Ratatouille”). Disney got a taste of that themselves with “Enchanted,” and even “Bolt” to a lesser extent. Most of the time, though, it’s balls to the groin, and gorillas cuddling humans singing Air Supply….

As the quote attributed to H.L. Mencken goes: “No one ever went broke underestimating the intelligence of the American people.” On the other hand, some have given it a darn good try. We’ll see.

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Fangirls give fanboys a run for their money as “New Moon” hits the record books

New Moon Even more than before, studio development executives will be combing through scripts looking for something about female humans in love with handsome young monsters whose unspeakable urges can only be controlled if they immediately remove their shirts. “The Twilight Saga: New Moon” earned an estimated $140.7 million this weekend for mini-major Summit Entertainment, which is now a bit more major and a bit less mini. As both jolly Carl DiOrio and Nikki Finke remind us, that puts it right behind the opening weekends of “The Dark Knight” and “Spider-Man 3,” displacing, as per Finke, “Pirates of the Caribbean: Dead Man’s Chest” with its pitiful $135.6 million.

“New Moon” enjoyed a spectacular Friday performance of $72.7 million, an all-time record one-day take, but dropped by what DiOrio describes as a “manageable” 41% to earn a still terrific $43.2 million on Saturday. (Finke, plays the baseball statistician and mentions that the two-day total $115.9 million makes for the biggest two-day gross of all time, and also gets into other November openings, if you think that stuff is important.) Still, by the end of this weekend, most of the really hardcore “Twilight” fans will have seen “New Moon.” The question remaining is how many casual viewers, plus repeat hardcore fans, will return for the big Thanksgiving day weekend.

There was another surprise this weekend: I was right about one of my casual box office prognostications! Based on the true story of the NFL’s Michael Oher, “The Blind Side” starring Sandra Bullock and newcomer Quinton Aaron supported by country singer Tim McGraw and Kathy Bates,  proved the sturdiness of the inspirational sports film genre. The sub-genre goes back at least as far back as 1940’s “Knute Rockne All American” and in this case won an estimated $34.5 million for the gipper and Warner Brothers, pretty much in line with what I wrote on Thursday. Astonishing.

According to Finke, the prognosticaters had only pegged this one for a maximum of $20 million, but they didn’t reckon, I suppose, with the cross gender and generational appeal of the story as well as its cross-cultural/ethnic impact which spans the inner-city and red state America, and both conservative and liberal perspectives common in Obama’s America. Lou Loumenick quotes this line uttered by country star Tim McGraw in the role of Bullock’s husband: “Who ever thought we would have a black son before we knew a Democrat?”

Woody H. in In the #3 spot this week was the big holdover from last weekend, Roland Emmerich’s “2012” which dropped a not-so-great 59% in its second week — spurred on, perhaps, by bad word of mouth from people  like the 20-something male checker at the Walgreen’s next door to me who volunteered his views to me a couple of nights back. The mega-disaster flick earned a relatively modest estimated $25 million for Sony on it’s second weekend for a total so far of $108 million. That’s still well short of it’s $200 million budget, which I find a bit obscene, but it’s current foreign total is $341.1 milion. Ah, the international language of blowing-shit-up.

Bringing up the rear of the new releases is the poorly reviewed “Planet 51,” which apparently shows that even CGI animated family comedies can be hurt by poor buzz if that buzz is bad enough.  Also, while our own Jason Zingale was unimpressed, “Precious: Based on the Novel Push by Sapphire” continued its unusually strong performance as it expanded this week. As explicated via table at Box Office Mojo, the downbeat tale of inner city dysfunction earned an impressive $11 million in only 629 theaters (as compared to 3,035 for “Planet 51”).

Of the two films debuting from undisputed world class directors and huge international stars, German man-of-the-world/universe Werner Herzog’s critically embraced “Bad Lieutenant: Port of Call New Orleans” starring Nicolas Cage had a disappointing debut of only $257,000 in 27 theaters despite great reviews and considerable buzz. On the other hand, Spain’s brilliant twosome of Pedro Aldomovar and Penelope Cruz earned back some of that lost “Planet 51” cred for their nation by taking in the week’s highest per screen average ($54,000) with their latest, “Broken Embraces.” That’s on only two screens, but it’s a start.

broken-embraces-001

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