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Wild Rovers

This nearly forgotten 1971 western drama from the late Blake Edwards was reportedly butchered by MGM, but eventually restored to road-show length by the director and is now available via the Warner Archives. “Wild Rovers” stars craggy William Holden and fresh-faced Ryan O’Neal as a pair of cross-generational buddies who have come to recognize why mommas shouldn’t let their babies grow up to be cowboys. Their not-smart solution: become wealthy bank robbers. The likelihood of tragedy grows even greater when their rancher boss (Karl Malden) sends out his loutish sons (Tom Skerritt and Joe Don Baker) in hot pursuit of the men who looted his payroll.

Edwards was a master of sorts, but on his first western as a director he tries much too hard to both pay homage to and outdo the competition. We have Howard Hawks-like dialogue scenes that go on forever, epic vistas shot in John Ford’s Monument Valley, and a few lifts from Sam Peckinpah. Blood squibs go off and characters writhe in slow motion a la “The Wild Bunch”; a lyrical montage about breaking a wild horse goes on and on like an outtake from “Major Dundee” or “The Ballad of Cable Hogue.” Considering the presence of “Wild Bunch” star William Holden and Edwards’ tendency to gentle wit, it’s impossible not to make the doubtless often repeated quip describing “Rovers” as “The Mild Bunch.” The problem, however, is not too much copying or excess affability, but Edwards’ undisciplined screenplay. It leaves an outstanding cast, and one of Jerry Goldsmith’s best scores, twisting in the wind like a horse thief on the end of a rope.

Click to buy “Wild Rovers”

Top Chef All-Stars: almost an all-star

Last night we got from Final Four down to Final Three, maybe sort of in the spirit of the NCAA basketball tournament. The “finale” series continued in the Bahamas with host Padma Lakshmi introducing this week’s guest judge, Lorena Garcia, and the quick fire challenge to the finalists–Tiffany, Mike, Richard and Antonia. They would have to break into two teams and create a dish that they had to serve on 100 plates, and make them as uniform as possible. That’s something you don’t think of so much, but as Richard said, it’s SO important for a chef in a restaurant–consistency. So Mike and Richard made a pork bolognese with homemade macaroni that looked amazing. Tiffany and Antonia made a beef tenderloin salad with lentils and chimichurri sauce. The girls won, in large part because of the uniformity of a dish that had a higher level of difficulty. Mike, of course, was bitter.

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American Idol: this field rocks

If you didn’t come away from last night’s episode of “American Idol” feeling like this field has no clear-cut winner, you weren’t paying attention. I truly can’t remember a more talented group of finalists, about half of who have a shot to win it all. Of course, I didn’t agree with all of the judges’ comments last night, but I do appreciate the field of talent that they have given us. Here is our recap of the episode of the contestants singing songs from the year they were born in:

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SXSW 2011: The Innkeepers

For two movies about essentially the same thing (in this case, a haunting), Ti West’s “The Innkeepers” and James Wan’s “Insidious” have received vastly different reactions from SXSW attendees, with many liking one but not the other, and vice versa. Those who read my review of “Insidious” already know where my allegiance lies, because while “The Innkeepers” may fancy itself a horror film, there’s nothing particularly scary about it. Sara Paxton and Pat Healy star as the last remaining workers at the Yankee Pedlar Inn, a fledgling hotel that has relied on stories of being one of New England’s most haunted locations to fill its rooms. But as the Inn’s final days draw near, the pair goes searching for proof that it’s actually haunted in one last effort to save the hotel from closing its doors for good.

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Unfortunately, you have to sit through a fairly uneventful 100 minutes to find out the answer, and it’s not really worth the wait. Though West teases the audience with brief moments of suspense that continue to build as the story unfolds, there’s very little payoff, to the point that when the horror elements finally do kick in, they’re not as terrifying as you would hope. Instead, the movie spends a lot of time camped out at the front desk where the two leads shoot the shit and play tricks on one another. It’s witty and amusing at times, but never quite enough to hold your interest, despite the fact that Paxton and Healy actually have pretty good chemistry. If there’s one redeeming quality, it’s the fantastic score by Jeff Grace, which at the very least makes it watchable. That doesn’t change the fact that the film is still a mediocre film, and the only one that Ti West has to blame is himself, because while “The Innkeepers” certainly had the potential to reinvigorate the horror genre in the same way as “Insidious,” it falls short.

Groupon: Hollywood’s new money launderer?

We’re still trying to wrap our heads around this one. A “Super Groupon” appeared in our inbox this afternoon, offering tickets to Matthew McConaughey’s upcoming legal thriller “The Lincoln Lawyer” (which is not being screened for the majority of critics) for six bucks. The fine print: the ticket must be purchased through Fandango. This is a nifty way to promote a movie, but it also raises some questions.

lincoln lawyer

“How much did you pay to see my movie? HOW MUCH, damn it?”

What is Fandango’s surcharge for this transaction?

Groupon recently ran into trouble when they ran a deal with FTD Flowers, and FTD turned right around and raised their prices for Groupon customers only. Groupon eventually made good on FTD’s bait-and-switch – and surely bitch slapped FTD back to the Stone Age for their truculent ways – but what is Fandango going to charge for “processing” these orders? A buck? two bucks? Not really much of a deal once you factor in surcharges.

That’s the lesser of our concerns, though, by far.

How will Lionsgate report the sale of these tickets?

Let’s say, for the sake of argument, that Groupon sells one million tickets to “The Lincoln Lawyer” through this promotion. Groupon has a 50/50 sharing policy with their clients, which means that Lionsgate would net $3 million from the deal. However, those are a million potential full-price tickets that they just sold, meaning that, with the national average at $8.00 per ticket, they could report that those tickets were the equivalent of $8 million in receipts, giving them a much better than expected opening weekend, which as we all know is the true worth of a movie these days. Later, when the movie has run its course in the theaters, they can cook the books, if necessary – after all, they might actually make that money back once that bloated opening weekend total hits the wire – when the movie ships to DVD and VOD. Call us suspicious, but it looks as though Groupon just inadvertently created an elaborate shell game that will allow every studio to goose the profits of any movie tracking below expectations.

Why do we get the sense that there is nothing about this Groupon that is meant to benefit the consumer?

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