If you follow movies at all, I don’t think there’ll be any way to avoid Casey Affleck‘s film about his friend and brother-in-law, Joaquin Phoenix. For starters, there’s the whole “is it live or is it Memorex” question of whether the film is a documentary about an actor going off his rocker or a mockumentary in which the actor endures humiliations and tortures that he’d have to be crazy to undergo if he were not, in fact, going off his rocker. And then there are the alleged scandals surrounding the making of the film, as if intended to create another circle of weirdness around this thing.
Okay, then, just watch the damn trailer
So, who’s the older gent with the deep voice talking there? Any ideas? He reminds me slightly of spoken word artists Joe Frank and Ken Nordine who are both old enough now that they’re voice could be that scratchy, but I don’t think he’s either one. Also, how long before this film plays on a double with Todd Haynes’ Bob Dylan anti-biopic, “I’m Not There”? Everyone’s going to mix them up anyway.
I’m getting a very, very late start tonight/this morning so let’s see how efficient and brief I can be. Also, we’ll see how many utterly huge stories I’ll miss.
* I suppose the big news today is that it really appears as if there’s already an Edward Norton replacement after his departure as the Hulk from “The Avengers” was egregiously mishandled by Marvel’s Kevin Feige. The choice appears to not be Joaquin Phoenix but the first-rate, not nearly famous enough Mark Ruffalo. He is the deceptively low-key actor I’ve been rooting for since catching him in “You Can Count On Me” back in 2000. (It was my favorite movie of that year and also made me a life-long fan of Laura Linney.) Ruffalo is currently in the year’s probable indie-smash, “The Kids Are Alright.” As sussed out from various reports by Kevin Jagernauth of the Playlist, it appears he’s still in some pretty serious negotiations that are not yet really anything like a done deal. He’s a shrewd choice for Marvel and this would be a good way to salvage a thoroughly unfortunate situation.
* Joaquin Phoenix might not be the Hulk, but the probable mockumentary (or not) about him made by his brother-in-law, Casey Affleck, has been picked up by Magnolia. I’m not looking forward to the already infamous “Cleveland steamer” scene. Just FYI, much as I admire John Waters, “Pink Flamingos” is on my short “never see” list, but that infamous final scene is a lot worse, I suppose. I get ill just thinking about it.
* The fascinating outlandish career of arthouse poet turned stoner-action-comedy specialist David Gordon Green may take another fascinating turn if he really does remake Dario Argento’s “Suspiria” — which, I somehow managed to sit through some fifteen years or so back despite my squeamish/scaredy cat ways, because, among other reasons, it’s so freaking beautiful. Also, I’ve always had the hots for Jessica Harper.
* Nathaniel Rogers didn’t get a mention, though he certainly deserves it. The openly actresexual blogger did, however, get a very nice interview with his idol, Julianne Moore, who I kind of idolize myself. More congratulations are in order.
* I suspect that those old Steve Reeves Hercules movies will wind up being a lot more watchable than whatever Brett Ratner makes of the mythical strongman. I’m sure he can’t top the Disney animated film, even if it wasn’t the greatest of the studio’s nineties animation output. Cue the “do you like to watch gladiator movies” jokes.
* If you’re wondering why the post two posts below this one has no video, here’s why. Somebody let me know if there’s a new version up, since the whole thing is a bit of a legalish technicality.
* Alison Nastasi has an interesting response to a fairly thoughtful rant by Dustin Rowles on the controversy around the new cover art for the remake of another film on my probably never-see list, “I Spit On Your Grave.” The poster is obviously in horrible taste, but isn’t that kind of the point?
* Now that a fourth tape is out, I wonder if Mel Gibson will get the message and give up the drunk dialing.
* I’m confused. If the planned film with Jeremy Piven and Thomas Jane is in any way actually closely modeled on John Cassavettes’ “Husbands,'” as director Mark Pellington seems to say, then I don’t think it should be called a “thriller.”
* I’ll get to some actual criminal matters below, but to me Kevin Feige of Marvel Productions is being criminally weird and unintelligent in how he’s handled the issue of the re-casting of the Hulk for “The Avengers” superhero-team flick being written and directed by Joss Whedon. Whether or not the issue that led to the parting of the ways was strictly the failure of financial negotiations or some kind of fight between Feige and Edward Norton, there was simply no earthly logical reason for Feige to allude to that in a statement given to Hitfix with some rather nasty coded language, to wit:
We have made the decision to not bring Ed Norton back to portray the title role of Bruce Banner in the Avengers. Our decision is definitely not one based on monetary factors, but instead rooted in the need for an actor who embodies the creativity and collaborative spirit of our other talented cast members. The Avengers demands players who thrive working as part of an ensemble, as evidenced by Robert, Chris H., Chris E., Sam, Scarlett, and all of our talented casts. We are looking to announce a name actor who fulfills these requirements, and is passionate about the iconic role in the coming weeks.
Given the fact that writer-director Whedon has a famously strong creative vision and is not known for loving it when his stuff gets rewritten, and Norton’s status as a strong-willed actor who often rewrites his films (and is pretty good at it), it would be easy to imagine that there was some kind of creative tussle predating this. However, that only creative conflicts appear to be mishegas that happened on Norton’s Hulk movie. According to an understandably angry response from Norton’s agent, the meeting between him and Whedon was a success and, as far as I know, no one has contested that point.
Regardless, even if the meeting had gone very badly indeed and even if Norton had made unreasonable demands, you still don’t talk about that stuff in a public statement. You simply say that an agreement was not in the offing, but that Norton is a fine actor and film-maker and you’re very sorry you won’t be working together this time around.
If you’re the kind of person who lives or dies by box office news and, if so, you have my deepest sympathies, this weekend’s box-office is already partially old news. As I write this late Thursday night, we know that Summit’s “The Twlight Saga: Eclipse” has already raked in a massive $68.5 million, though that’s actually a bit less than the prior installment got on its first weekday release. Nevertheless, its very mixed reviews are actually an improvement on the poor critical performance of the last entry and there’s general agreement that, whatever else may be the case, this is the most action-packed installment so far. Decent word of mouth could give it a boost.
In any case the $150 million or more total for the vampire romance’s first five days that jolly Carl DiOrio has confidently predicted seems like a good guess, especially with Nikki Finke‘s report of a promotional strategy involving 20 cast members fanning out across the country to intro the movie in area theaters. This can’t hurt. Go to any revival screening in L.A. at a venue like the American Cinematheque or the L.A. County Museum of Art, and you’ll be lucky to see a half-full house. Advertise that a famed cast member will be speaking, and you often get sell outs. Never underestimate the appeal of a live celebrity appearance. If it works with film snobs, it’ll squeeze some more repeat viewings from the Twi-hards.
There’s actually another new genre film debuting this week. It’s the more kid-and-geek-male friendly, PG-rated “The Last Airbender” from M. Night Shameicantspellhisname. The Indian-American director has been pilloried by Asian groups for casting the tale, adopted from an animated series with a definite Asian flavor, with primarily white actors. It’s also been a long time since he’s had a hit, or even a movie that anybody liked much. It gets worse because “Airbender” is getting some of worst reviews of the year, with critics like our own Jason Zingale taking a moment to criticize the film’s retrofitted 3-D as even worse than the film as a whole. Even so, the martial arts fantasy got off to a decent start at midnight screenings Thursday morning with $3 million in the coffer for Paramount.
Still, if word gets out that this film is the stinker it sounds like, rather than the franchise-starter it’s supposed to be, it could do very disappointing business. With a $145 million budget, that’s not good tidings for the director or the studio. On the other hand, fans of the animated series could pull the film towards a solid, but certainly hugely distant, second. In any case, it seems clear that the massive and assuredly leggy success of “Toy Story 3” will be nipping at its heels. One thing is certain: the film originally titled “Avatar: The Last Airbender” will not be emulating its former namesake commercially over the long haul.
Among other limited releases this week, we have “Love Ranch,” which is the first film starring Helen Mirren to be directed by her husband, Taylor Hackford (“Ray,” “An Officer and a Gentleman”). Sadly, it’s getting very bad reviews. That is not good for a limited release, even if Joe Pesci is also in the cast. Amazing that a film about murder and legalized prostitution in Nevada is considered dull, but making movies is an uncertain business. Right?
“The Killer Inside Me” starring Casey Affleck as a brutally psychopathic cop is dividing critics in the kind of way that indicates it’s either an honorable near-miss or a cult film in the making. The adaptation of the pulp novel by novelist and Stanley Kubrick screenwriter Jim Thompson, which has a couple of scenes of very brutal and graphic violence that have generated a ton of ink and bloggy pixels, though its admirers tell us there’s lot more to the movie that that, will be expanding significantly from four to seventeen screens this weekend as per Box Office Mojo’s theater counts,. If you want to see it in a theater, I suggest you do so quickly. I don’t think all that many people are in the mood for this kind of thing right now.
UPDATE:Nikki Finke has the Thursday box office which indicates both “Eclipse” and “Airbender” are on track for their respective expected strong performances. Still, I’m curious to see if word of mouth catches up with the latter.
Earlier this week, Michael Winterbottom’s film version of Jim Thompson’s pulp classic, “The Killer Inside Me,” provoked an angry reaction from some in the audience during the post screening Q&A. At issue: scenes of intense violence by the sociopathic antihero of the film (Casey Affleck) against some of the female characters, including one reportedly disturbingly grisly scene featuring Jessica Alba. Today, Nikki Finke is reporting its purchase by IFC Films.
Say “Sundance movie,” and most film fans tend to think of either social issue dramas and documentaries, or low-key tales of everyday life; when I was there, one writer I talked to said he was having a hard time finding synonyms for “unlikely friendship.” Still, this is not the first time a film to premiere at Sundance caused a ruckus for its violence. In 1992, a highly touted film from a previously unknown filmmaker featured a scene that was said to cause walk-outs at every screening. According to Wikipedia, later festival walk-outs included make-up effects wizard Rick Baker and, most ironically of all, horror director Wes Craven (the original “Last House on the Left” and “The Hills Have Eyes”). Of course, in our post-“torture porn” world, the “Reservoir Dogs” torture scene seems pretty restrained today. It’s still brilliant and not easy to watch — in a good way.
I was actually going to embed the scene here, but I realized at the last minute that every version is “embedding disabled by request” for whatever reason. And so, below is the film’s famed NSFW (for language) opening sequence. You can, however, see the infamous “ear scene” here.