Tag: Headlines (Page 142 of 146)

“Toy Story 3” trailer + supplementary reading!

If you’re feeling a bit Pixarish after maybe getting a chance to see the new 3-D version of “Toy Story” and “Toy Story 2” wrapping up their two week run in theaters this week, you’re in luck. First of all, The House Next Door, something of a gold standard among brainy cinephile blogs, has just wrapped up Pixar Week, with some of the smartest cinegeeks around exploring the ins and outs of  the studio’s unprecedented run of ongoing artistic and commercial success. Bob says check it out.

That’s not all, the trailer for “Toy Story 3” has been making the rounds today, and we’ve got it. Like many of the folks highlighted by Christopher Campbell, I got a bit verklempt watching this. It’s also, of course, very funny. The usual Pixar one-two punch — works every time (apparently).
Toy Story 3 Trailer in HD

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What they should do, what they will do

The Deep Blue GoodbyeAfter the geek movie bloggers finish mulling over the possible return of Bryan Singer to the X-Men films — none of which have particularly wowed me in the first place — another topic for discussion is Mike Fleming’s post about producer Peter Chernin’s plan for an upcoming Bible-epic about Moses to be made in the style of “300” and directed by Timur Bekmambetov (“Wanted,” “Nightwatch“). Since Bekmambetov seems to have the same degree of difficulty with basic storytelling as I do with pronouncing his name, and I didn’t much care for “300” in the first place, this does not excite me.

I could go on and on about how the green-screen technique might be appropriate for some films, but not really for a classic biblical tale, but I don’t really care about that. It will be what it will be. However, buried in the same item is this:

Chernin adds the project to several pre-existing Fox projects he has joined as producer, including the John D. MacDonald novel series adaptation “The Deep Blue Goodbye,” the Appian Way-produced drama that’s a potential star vehicle for Leonardo DiCaprio.

Now, this probably won’t get much reaction from most of you. How many old books by successful authors get optioned and then attached to big movies stars for a time? Lots. Also, this item ran a couple of weeks ago, but escaped my notice.

Here’s the thing that you’ve missed if you’re not already familiar with MacDonald’s work. “The Deep Blue Goodbye” is the first book about Travis McGee. That’s a big deal, to me anyway. In his earlier article, Fleming does a pretty good job describing the series:

DiCaprio is in line to play Travis McGee, a self-described beach bum who lives aboard 52-foot houseboat the Busted Flush [which he won playing poker] and alleviates his cash-flow problems by hiring on as a “salvage consultant.” He recovers property for clients, taking a hefty percentage and getting into a lot of danger and romance in sun-drenched Florida. “The Deep Blue Goodbye,” the first in a 21-volume bestselling Travis McGee series, was originally published in 1964.

The series has mostly been ignored by Hollywood, though there was a long forgotten 1970 movie with Rod Taylor and a 1981 TV film with Sam Elliot, neither seen by me. MacDonald supposedly also scotched a planned TV series because he feared it would hurt books sales if fans could see McGee on TV every week.

Blood DiamondWhat Fleming left out was the appeal of the books, a sort of bridge between Raymond Chandler/Ross MacDonald style medium-to-hard boiled gumshoe tales and “The Rockford Files” — and also probably “Magnum P.I.” which I never really watched much.  To me, this seems an obvious attempt for DiCaprio to find the conflicted inner macho-man he did a good job of capturing in “Blood Diamond,” which I personally otherwise kind of hated. To be fair, pretty or not, he is a first-rate actor. Moreover, in his less skinny near-middle-age, he actually more or less fits the physical description of McGee given on Wikipedia.

Still, MacDonald’s Magee was a more old fashioned kind of a character and, as in Leonardo DiCaprio‘s well-acted yet just somehow wrong performance in “The Aviator,” this is a part that cries out for the kind of old-school “real men” type actors who today only seem to come from Australia or the African-American community. If it were up to me, and if no Aussie wanted the gig and black stars didn’t care for the seriously nontraditional casting — I’d personally go with Jon Hamm of “Mad Men” fame.

Indeed, the ultra-commitment phobic Don Draper really does want to be the eternally footloose, Peter-Pan-Knight-Errant Travis McGee, who’s basically a tougher Jim Rockford, or a less ruthless James Bond. I know I do. In fact, I think all guys do. But will this movie or what sure sounds like a ludicrously amped-up Bible movie actually get made?

Coming eventually, maybe: Why Paul Giamatti must be forced, against his will if necessary, to play Magee’s brainy, hirsute economist sidekick, Meyer.

Curb Your Enthusiasm 7.4 — The Hot Towel

curb09_24

Before I begin, I want to say something about Larry David’s acting. I think it’s wonderfully bad. The beauty about working on a show like “Curb Your Enthusiasm” is that Larry gets to play a tweaked version of himself. As a sort of wink and nod to viewers, it seems as if he tries to overact at times. “Curb Your Enthusiasm” may come off as realistic, but it’s still a show on television with professional actors.

In the opening scene, Larry is on flight. We have no idea where he’s off to, which is unusual as the viewer is usually privy to everything in Larry’s life. Still, the scene isn’t squandered. The guy he’s sitting next to is wearing shorts and Larry voices his disgust over having to look the man’s legs. While complaining, a stewardess offers Larry the titular hot towel, which burns him.

He’s later treated at his doctor’s office. The doctor, at first cordial, gives Larry a restaurant recommendation. Larry should be on his way, but he asks the doctor for his home phone number, which would strictly be used in case of emergency. The doctor balks at the request but soon gives in, telling Larry to get all the information from his receptionist. While leaving, Larry bumps into an old girlfriend, Mary Jane Porter, who surprisingly asks Larry out on a date.

At Ted Danson and wife Mary’s anniversary party, Larry gives them an expensive gift certificate to the restaurant. The couple is impressed since (and regular viewers will remember) Larry’s present last year was “the freak book.”

Over at the h’orderves table, Larry notices Mary Jane’s friend Christian Slater, who is devouring all the caviar. Larry later blows the whistle on him to Ted Danson’s wife. The party comes to an abrupt halt when Suzie Green announces that, instead of a tangible gift, her daughter Sammy will sing to the Dansons. It’s quickly obvious that Sammy is a terrible singer and Larry shuts her down, infuriating Suzie.

On their date, Mary Jane points out the Dansons and the Greens eating at a table. Larry confronts them, irritated that the Dansons would take the Greens over himself, considering he got them the gift. Of course, nobody agrees with Larry and they get into the subject of Larry’s issues with people singing in public. When the resident restaurant singer begins his routine, Suzie gives Larry the eye. She wants him to treat this man the same way he treated her daughter. Larry senses the dilemma and, in the most cringe-inducing scene of the episode, he tells the singer to “lock it up.”

Back at Mary Jane’s place, Larry is making some headway. He attempts to undo her bra while fooling around, but his burnt hand impedes his progress. He promptly dumps his bandage into the trash can. Mary Jane’s boyfriend calls, catching Larry off guard. Larry tries to keep quiet but he gags on the horrible pie she’s made, loud enough for the neighbors to hear. The boyfriend is on his way, so Larry bolts.

Larry needs to get his hand treated once again. Whenthe doctor instructs Larry to leave the hand unwrapped, Larry stops him. He can’t trust a doctor that would recommend a restaurant with such horrible food. Larry wants it bandaged. The doctor abrasively complies. To make matters worse, Larry compliments the doctor about this house as they apparently live down the street from one another. The office receptionist has given Larry too much information.

Later that night, Larry is exercising on a stationary bike at home. He gets a call from Mary Jane, who tells him that her boyfriend is coming over in a rage. Larry flees, seeking solace at both his doctor’s and the Dansons’ houses. Because of his prior actions, he’s denied sanctuary. Luckily, the Greens show some pity. Still, Larry can screw up any situation. In the morning, Sammy is practicing singing, which prematurely wakes Larry from his slumber. Larry instinctively tells her to “shut the F up.” Without missing a beat, Suzie kicks him out of the house.

Larry’s so far managed to offend more people in the episode than usual. Attempting to make amends, he apologizes to the opera singer back at the restaurant. Mary Jane just happens to be there and she warns Larry that her boyfriend is in the bathroom as they are on a date with Christian Slater and his girlfriend. As Larry turns to leave, he bumps into a big gentleman. Larry’s wrapped hand is a dead giveaway since the boyfriend had previously found a similar bandage at Mary Jane’s place. Larry scurries out the door and hides behind a dumpster. Of course, this is right as Chrisian Slater shows up, and he tells the boyfriend where Larry is hiding. As the looming figure approaches the dumpster, Larry looks up with remorse.

A couple thoughts:

* I guess we won’t be seeing the cast of “Seinfeld” in every episode. I suppose the whole arc of this season simply involves Larry trying to get his wife back and all the problems in between.

* Ted Danson was also in last night’s episode of “Bored to Death,” which airs before “Curb Your Enthusiasm.” Danson is on a roll.

* In order to be recognized by Mary Jane’s boyfriend, I know Larry needed to be wearing that bandage on his hand. Still, nobody ever tells their doctor to go against their professional opinion. Everything would have still connected if the doctor had just told Larry to continue wearing a bandage.

“Couples Retreat” hits big, damn it + a “Paranormal” windfall

As Chris Difford and Glenn Tilbrook of Squeeze wrote so long ago, “Let’s face it, I’m wrong again.” Yes, my admittedly halfhearted hunch on Friday, that director Peter Billingsley’s multi-star comedy vehicle, “Couples Retreat,” would be lucky to break double-digits, has been proven to be laughably wrong. Instead, as per Andrew Stewart of Variety, the film grossed a cool estimated $35.3 million for Universal despite the appearance that nobody seemed to have a whole lot of confidence in it.

Couples RetreatIn my own defense, I was working on less second-hand “tracking” info that usual and no one I read ventured a specific guess (jolly Carl DiOrio of The Hollywood Reporter apparently took the weekend off). Also, I did indeed note the lack of competition, but I obviously vastly underestimated its import…until an extremely intelligent female friend of mine mentioned to me via Facebook that she’d seen it. True, she didn’t seem to like it — but by then it was too late and I then knew that even seemingly discerning viewers might glom onto it out of a lack of anything else in the same ballpark. Anyhow, it’s great news for the cast, and the grown-up star of “A Christmas Story” turned first-time director who will live to film again, sooner rather than later, probably. Let’s just call this one “Ralphie’s revenge.”

Otherwise, taking a look at the weekend’s estimated chart as supplied by Box Office Mojo will show few surprises, with Sony’s past chart toppers “Zombieland” and “Cloudy With a Chance of Meatballs” both holding comfortably.  Among the limited releases, “An Education,” a Nick Hornby-penned literary adaptation with some awards potential, did a very healthy estimated $40,000 per screen in four theaters this weekend.

There is one hugely dramatic piece of data, however, and that’s the #5 showing of “Paranormal Activity,” which as you can read in my review, has the power to make even a presumably jaded Hollywood audience act like terrified 11 year-olds. Any sourpuss who tells you that this is all hype — and such sourpusses are already emerging online — certainly wasn’t in the same theater as me and definitely wasn’t feeling the same thing as me.

On the strength of its quickly growing buzz, the three-character video-flick scored a spectacular $44,000 per screen average and an estimated total of $7,066,000 in 159 theaters. (Compare that to the #6 film, “Surrogates,” which grossed $4,115,000 on 2,992 theaters.) I don’t see how Oren Peli’s thumpingly scary debut doesn’t emerge as one the year’s biggest hits and definitely its most profitable production; the mock-documentary supernatural horror tale’s original budget of $11,000 was exactly one-fourth of its per-screen take this weekend. Whoever dines with Oren Peli may now order the lobster, and whoever decided to pick this one up for Paramount can definitely sleep well at night.

Paranormal Activity

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