Category: Sci-Fi Movies (Page 68 of 93)

Friday night movie news dump…

And, for a change, it’s barely even night here on west coast as I begin.

*  We’re seeing some major league “New Moon” girl-power at the box office, already. $26.3 million, to be specific. That’s just for midnight shows.

* Just a few days back I noted the casting of Japanese star Tadanobu Asano as Hogun in Kenneth Branagh’s upcoming “Mighty Thor” flick. As a part of Norse (i.e., Viking) mythology, Asgard is, by definition, a pretty strictly Nordic place, so I thought this casting was interesting.  Visually, the Marvel comics Hogun was based on Charles Bronson, whose face had a definite Asiatic/Mongolian-by-way-of-Lithuania cast, so going with the star of “Mongol” was a stretch worth noting, but maybe not a definite sign of completely race blind nontraditional  casting.

However, Branagh has now cast the very fine African-English actor Idris Elba of “The Wire” and several great episodes of “The Office” in the part of Heimdall, guardian of Asgard. As a commentor at the Heat Vision blog that spread the news mentioned, Branagh did something very similar when he cast Denzel Washington as an Italian warrior-prince in his version of “Much Ado About Nothing.” I’ll quote myself from the Bullz-Eye piece I did on less well known Denzel Washington performances:

As a major production featuring truly race-blind “nontraditional” casting in a key role, “Much Ado About Nothing” is something of an onscreen first. In fact, audiences and critics had no more problem accepting Washington as an Italian prince than they did accepting the extremely British, pasty-faced Branagh as a Mediterranean nobleman.

Especially in films set far away from a realistic context and where the actor has as much authority as both Washington and Elba have, I think we’re sophisticated enough about the nature of movies that this will not be a problem, even for viewers who know a little about mythology. And here’s the best part: it will piss off some white supremacists. I’ve personally heard about young Neo-Nazis who dig the comic book “Mighty Thor” and apparently are too stupid and ignorant to realize that the series was created by Stan Lee and Jack Kirby, a.k.a., Stanley Leiber and Jacob Kurtzberg, two rather brilliant New York Jews. As always, the joke is on the hate fetishists.

Like I said before, this is not your father’s Asgard, and I’m fine with that.

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* It’s thirty days before the release of “Avatar,” the movie isn’t quite done yet, and some of us insist on going about our business as if life as we have always known it was not about to be forever altered. Quick, send out Sigourney Weaver and Giovanni Ribisi to say nice things about James Cameron!

* He’s brought us everything from “School of Rock” to “Chuck and Buck”, but very talented quirk/comedy writer/actor Mike White’s next film is about Santa war, but I doubt it’ll be very violent. On the other hand, he appeared in the comically mega-violent “Zombieland,” so perhaps his thinking has evolved some. I pretty violently disagreed with his op-ed, but he gets credit for even thinking about stuff like this.

* And, now for something completely different, from OC Weekly restaurant critic Edwin Goei comes his list of the five greatest food movies. I’d steal some of his YouTube clips, but I’m starving and I’m supposed to go to the gym later, dammit. Just go see for yourselves.

This one’s for you, Dennis Cozzalio

Sergio Leone and the Infield Fly Rule celebrates it’s fifth birthday today in high style.

Like many in the film blogosphere, I owe a lot to the cite’s proprietor and sole contributor, Dennis Cozzalio, for his support and encouragement when pretty much no one was paying attention. And the weird part came when we both figured out that we’d actually probably met about ??? years back through some kind of bizarre web of L.A.-based film nerd synchronicity. But, who cares.

Really, this is a day to celebrate that great site where the seemingly inexhaustible Dennis, whose subject matter really does include baseball and the great director of Italian-made westerns but also genre films (with an emphasis on the grungier side of the street, particularly horror but also, because he’s a family man, the cleaner and brighter side of things as well) and thoughtful exploration on this thing we call cinema in pretty much every single one of its facets.If you’ve never been over to his place before, now’s as good a time as any to start. Much good film-geek reading awaits you there.

In the meantime, just a few movie moments with a twist of SLIFR. (Okay, this is mainly just because I’m in a Roger Corman mood at the moment.)

Two more after the flip.

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Of movies and madness on a Monday

Movie news bits and pieces tonight.

* Universal may be having a bad year, but Sony is doing just fine.

* Disney has apparently ditched a McG-spearheaded sort-of prequel to “20,000 Leagues Under the Sea” focusing on the “origin” of Captain Nemo and his fabulous submarine, the Nautilus. Apparently, pirates on the water are better than mysterious antiheroes underneath it.

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* Kim Masters introduces us to “the movie theater of the future,” which sounds an awful lot like no movie theater at all to me. With people buying fewer DVDs, I supposed it’s necessary for the studios to experiment with delivery systems and new approaches, but undercutting theater owners won’t help anyone in the long run. The focus should be largely on making moviegoing better, cheaper (or at least providing more value), and more of an event for filmgoers of all ages — while also maybe utilizing our enormous numbers of screens to offer more choices. Just a thought.

* Have you ever heard of fifties B-movie and sixties TV director Paul Wendkos? I just barely recognized the name and I’m a gigantic geek. C. Jerry Kuttner has some thoughts on his passing.

* That item above is via The Auteurs Daily and so is this item. Extreme meta and some inside baseball is involved, so caution is advised. So, was using the expression  “screw-up,” a screw-up? That’s the question facing Anne Thompson who, in post I linked to and left a brief comment at last week about a new job for L.A. Weekly movie critic Scott Foundas, had in passing pretty much said that former New York Film Festival programmer Kent Jones had apparently been guilty of some sort of big mistake, with the implied result being his departure. Anyhow, Mr. Jones has friends and one of them was Manohla Dargis of the New York Times. I really don’t know any of the specifics enough to even contemplate a comment on whose right and wrong here — the ins and outs of festivals and their personnel hasn’t exactly been on my radar — but fans of excess verbiage might want to take a look at the ‘net equivalent of a non-lethal multi-car pile-up that eventually involved Mr. Foundas as well.

* Bad news for cinephiles. Edward Copeland, whose  involvement in the movie-geek blogosphere predates my own and lots of others by some time, is taking a break from blogging because of health concerns. For as long as his break lasts, he will certainly be missed. Get better soon, Edward.

It’s the end of the world as we know it; Sony feels fine

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I’m sure Roland Emmerich who, according to Nikki Finke, is receiving 25 percent of the grosses for his $200 million budgeted “2012,” is also feeling pretty good. Of course, now he has to figure out if he about to earn enough money for his own end-of-world-blocking fortress of solitude in case all those prophesies he used to come up with his critically dismissed thriller come true.

Emmerich’s latest multi-star epic earned an estimated $65 million, at the very highest end of the most optimistic projections put forth by Jolly Carl DiOrio that I mentioned on Thursday night. If you throw in the worldwide figures going back to the film’s international release last Wednesday, then you get to a figure of around $225 million so far. As per Variety‘s Pamela McClintock, assuming there are no surprises, this puts Sony’s PG-13 epic in the #9 spot on the top 10 for international opening weekends.

Disney's At #2 spot this weekend is the Disney/Jim Carrey/Robert Zemeckis CGI-3D revisit of “A Christmas Carol,” which, despite character designs that embody the unpleasant after effects of a visit to the uncanny valley, is holding up extremely well after what was deemed a disappointing opening last weekend. Charles Dickens’ unkillable holiday perennial only dropped about 25-26% or so, about half of what many films do, and collected a very respectable estimated $22.3 million. After it’s a truly steep fiscal drop all the way down to an estimated $6.2 million for “The Men Who Stare at Goats.” It seems to me there’s nothing more problematic at the box office than a prestige picture with a critical/online buzz response that amounts to “meh” — or in this case “meeeahhhh.” That’s an apparent 52% “many films” drop from last week.

Indeed, this week brings us the spectacle of a goat herd of A-listers being upstaged by an abused, severely overweight teen as the critically lauded by overtitled “Precious: Based on the Novel ‘Push’ by Sapphire” shot up to #4 spot despite being in only 174 theaters. That means it earned it roughly $6.1 million on 2,279 less screens that “Goats” needed to earn an additional $0.1 million.

However, as good as the $35,000 per screen average for “Precious” was, taking a look at the Box Office Mojo weekend chart, the highest per screen went to Fox’s “Fantastic Mr. Fox.” The old-school puppet animation comedy earned a very nice estimated average of $65,000 on four screens and is, weeks before its wide release, already going a long way toward burnishing the reputation of writer-director Wes Anderson who, as far as this writer is concerned, has never shot an uninteresting foot of film.

Still, it wasn’t all hearts and flowers for the indies this weekend. Despite some outstanding coverage by Mr. Will Harris at our fabulous sister site, “Pirate Radio” failed to receive the Bullz-Eye bump. The ensemble comedy, inspired by illegal British broadcasting outfits of the sixties and seventies that competed with the BBC by blasting out the latest in rowdy beat music, earned a very non-rocking  estimated $2.9 million, slipping just below Richard Kelly’s $3.2 million 10th place thriller, “The Box.”  On the other hand, that does mean that “Pirate Radio” went to 11.

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