I need to keep it brief tonight, but there are a few items tonight that I want to catch up with.
* It nice to lead with some good news. Jailed Iranian director Jafar Panahi has reportedly been released on bail from his imprisonment. The director, who was supposed to sit on the Cannes jury, had been on a hunger strike. The acclaimed film-maker appears to be in trouble because of a documentary about the Iranian protest movement.
* The lower than expected box office performance for “Shrek Forever After” had an effect on Wall Street. Moreover, Patrick Goldstein wonders if those inflated 3-D ticket prices might already be starting to backfire. I tend to agree. People may not mind paying a little extra for something that feels like a real event, but 3-D is already starting to feel old hat and, as Goldstein reminds us, there’s a lot more coming.
* This story fell between the cracks a few days back — and Louis Black doesn’t work for me — but Morgan Spurlock (“Super Size Me“) really is doing that comicon documentary that was rumored sometime back. It was originally plugged as a collaboration of some sort with Joss Whedon, but it turns out Whedon is just one of a few geek superstars who will be executive producing. That’ possibly the most elastic job title in show business, so his involvement could be fairly minimal though I’m sure he’ll appear on screen. Accompanying Whedon in backing the film are none other than Stan Lee and Harry Knowles.
* A long time ago, I found the novel, Less Than Zero, oddly compelling reading in that it was a vivid portrait of a human train wreck. That being said, Brett Easton Ellis is certainly not dispelling the widespread opinion that he might be a jackass with his pronouncements about female directors. May he shortly be visited by the ghost of Ida Lupino.
* The real winner at Cannes: Eliot Spitzer.
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With Cannes starting to wind down — or with people probably starting to leave in the manner of Hollywood folk at lengthy fests much in the way Los Angelenos leave sporting events early — maybe the news will start to slow down a bit as well. In any case, it’s looking like I won’t be around to cover it tomorrow, and then comes the weekend movie preview, so this will have to tide you over for a bit.
* Our top story tonight, however, is far away from anything likely to screen in, or even out of, competition at the world’s most famous film festival. Seems that Megan Fox, who you might remember compared director Michael Bay to Hitler some time ago, will not be returning in “Transformers 3.” Apparently Bay has finally realized there are lots and lots of unnaturally attractive young women in Hollywood and some of them can act a little.
In any case, Nikki Finke brings you a crash course on the apparent Fox/Bay hate affair, while AICN’s Merrick reminds you of some of those other unnaturally attractive women.
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There’s no doubt that Alex Gibney is on a historic roll as a documentarian. Within only a few years, he’s been involved with probably the largest number of popular and influential documentaries of any single human being not named Michael Moore. Those works would include the outstanding “Enron: The Smartest Guys in the Room” and the equally strong, and Oscar winning, “Taxi to the Dark Side,” about American use of torture in the “war on terror.” Gibney has also made his share of more historically themed documentaries, including “Gonzo: The Life and Work of Dr. Hunter S. Thompson.” He was also involved as a producer in two of the other most important and controversial documentaries of recent years, the Iraq-war expose, “No End in Sight” and “Who Killed the Electric Car?”
If Gibney’s past output is hugely impressive, however, his upcoming list of films is dizzying. At the recently wrapped Tribeca Film Festival in New York, he premiered as a “work in progress,” a new and apparently very revealing, look at former New York state governor, attorney general, and Wall Street watchdog Eliot Spitzer and the sex scandal that drove him from office. He also has a segment in the upcoming film version of the super-hot bestseller, Freakonomics, as well as new films about two very different cultural legends: bicyclist Lance Armstrong and author/super-hippie Ken Kesey of One Flew Over the Cuckoo’s Nest and Merry Pranksters fame.
There’s also the recently completed “My Trip to Al-Qaeda” and the film Gibney was promoting at his publicist’s L.A. office one recent afternoon, “Casino Jack and the United States of Money.” It’s a work of amazing journalistic detail that also works very hard to be lively and accessible.
Even if I felt that Gibney didn’t quite master that “accessible and lively” aspect too consistently this time around, his “Casino Jack” reviews so far have been great overall. He’s certainly a filmmaker to be reckoned with and one with an outstanding body of work behind him and much, much more to come. Not my idea of a lazy person.
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I’m recovering from the fest and doing other stuff as well, so I’m going to try and keep things fairly short tonight.
* The non-extra initial Blu-Ray/DVD release of “Avatar” has, guess what, done very, very well.
* Thanks, Hef! He saves the world for heavily retouched naked women, pays writers more than just about anybody, and now he ponies up the missing funds to save the Hollywood sign.
* One item I don’t actually have to link to report on is that the TCM Classic Film Festival is going to be back next year, with the idea of being an annual event. I can do that because I was present at last night’s big screening of “Metropolis” where none other than Robert Osborne announced it to the assembled multitudes at the more beautiful than ever Grauman’s Chinese Theater.
What was interesting about the way this festival was marketed is that people who live in Los Angeles were clearly not the primary target. Individual ticket prices were roughly double what film geeks like myself are used to paying to see similar presentations — actually more than double when you consider that most repertory programs are actually double bills. With the exception of fellow press and a USC film student who had picked up one of thirty free tickets that has been donated, everyone I spoke to was from elsewhere, and usually a place where the opportunity to see such frequently revived cinematic warhorses as “Casablanca” and “Some Like it Hot” on the big screen are nevertheless beyond rare.
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