Tag: Headlines (Page 20 of 146)

The Whedon-free “Buffy” and some small triumphs for smart PR

Way back in May of ’09, I wrote about a geek-storm caused by a possible movie reboot/remake of the “Buffy, the Vampire Slayer” franchise not involving the creator of the original TV series and writer of the original film of that name, Joss Whedon. The response from Whedon fans at the time — a group that includes myself and, to a great or lesser extent most of the other writers here at Premium Hollywood/Bullz-Eye land — was pretty much catcalls.

It seemed such an obvious and hamfisted attempt to cash-in on the success of “Twilight,” “True Blood,” etc., even though it was actually the “Buffy” TV series that milked the concept of vampire-human interspecies romance and the rights holders behind it didn’t have the rights to anything from the television show, just the original, likably mediocre, movie.buffy_the_vampire_slayer_1992-thumb-550x321-18443

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A roundtable chat with Sally Hawkins and Miranda Richardson of “Made in Dagenham”

As the press day began for director Nigel Cole and writer William Ivory’s amiable historical comedy, we assembled entertainment writers believed we’d be doing separate roundtable interviews with the film’s best known actresses. When Sally Hawkins and Miranda Richardson entered the room together to promote “Made in Dagenham,” about a 1968 strike by female workers at a Ford plant located in a grimy London suburb, however, it was easy to be a little overwhelmed. Either one of them is worthy of a Russian novel’s worth of questions and our time would be limited.

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Like so many first-class English actors of her generation, Miranda Richardson is known for her ability to play all ends of the dramatic spectrum. In England, and certain geekier quarters of the U.S., she’s still extremely well known known for her work alongside Rowan Atkinson and Stephen Fry as “Queenie” (i.e. Queen Elizabeth I) and assorted other characters on Richard Curtis and Ben Elton’s historical cult-com, “Black Adder.” Younger geeks, however, might know her better as magical tabloid journalist Rita Skeeter in the Harry Potter films. On the more realistic end of the spectrum, she has also done magnificent work playing a ruthless IRA operative in “The Crying Game,” a maltreated housewife in an Oscar-nominated role in Louis Malle’s “Damage,” a widely praised turn in the Oscar-winning “The Hours,” and a widow investigating her husband’s death on AMC’s recently canceled suspense drama, “Rubicon.” On the other hand, she’s also portrayed the character of Mrs. Santa Claus opposite Paul Giamatti‘s Santa in “Fred Claus.” Despite some resemblance, both physically and in terms of talent, she is not part of the famed Redgrave acting dynasty and no relation to the late Natasha Richardson. She is, in fact, the only actor in her family, which perhaps makes her all the more impressive.

Although Sally Hawkins has appeared in some 34 movie and TV productions since 1999, she broke into the consciousness of most of her fans with her Golden Globe winning performance in Mike Leigh’s 2008 “Happy-Go-Lucky,” in which she dominated the film as a relentlessly happy and, strangely enough, rather bright, elementary school teacher. It was probably an ideal role for a woman who really does come across as cheerful in person, with an approachable demeanor that certainly seems to fit the child of two children’s books authors. Currently starring on Broadway in a new production of George Bernard Shaw’s “Mrs. Warren’s Profession,” Hawkins has continued to mix starring roles with a number of smaller supporting appearances, including a turn in Cary Fukunaga’s highly-anticipated new version of “Jane Eyre.” Her next leading role is as Irish radical politician and activist Bernadette Devlin in “The Roaring Girl” — assuming the real Devlin is not successful in her efforts to prevent the film from being made.

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The Walking Dead 1.4 – Vatos

Just like in the pages of Robert Kirkman’s comic, tonight’s episode (which he also wrote) picked up right where the last one left off, with Daryl not taking the discovery of Merle’s chopped-off hand particularly well. Fortunately, it appears that Merle is doing just fine on his own, as a trail of blood down the opposite staircase leads Rick and Co. to find evidence that Merle has not only taken out a few zombies, but also cauterized his stump on a hot plate before getting the hell out of Dodge. Worried about his safety all alone in the city, Daryl wants to go chasing after him, but Rick warns to keep a cool head and suggests they retrieve the guns first.

But instead of bum-rushing the bag as a group, Glenn volunteers to go alone because he can do it quickly and stealthily. Better yet, he’s even devised a fail-safe plan for protection involving the other three guys that leads Daryl to ask in disbelief, “Hey kid, what’d you do before this?” “I delivered pizzas.” Unfortunately, not even the best-laid plans always go as intended, and when Daryl gets distracted by some Mexican kid and is promptly attacked by his friends, Glenn comes running back down the alley straight into all the trouble. Daryl manages to shoot one of the Mexicans in the back of the leg, but not before they can grab Glenn and drive away.

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Of course, they also left the kid behind, and although he isn’t very cooperative at first, Daryl’s threats to cut off his feet seemed to do the trick. (If only he knew that Daryl was bluffing with his own brother’s hand.) Nevertheless, he takes them to the kidnappers’ hideout, which is run by a guy named Guillermo, who tells Rick that he wants the kid and the guns in trade for Glenn. The odds were certainly stacked against him, but good old Rick just waltzed right into their little fort and stuck a gun in Guillermo’s face, as if to say, “You want a fight? Let’s go.” Luckily, none of that was necessary, as it turns out Guillermo wasn’t such a bad guy after all, but just a custodian trying to protect the retirement where he used to work. After seeing all the sick, elderly people depending on Guillermo’s care, Rick leaves him a few of the guns and heads back with the others to the van, only to discover that someone (presumably Merle) has taken off with it.

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Boardwalk Empire 1.10 – “That’s Mommy’s kissing friend!”

At last, the spotlight is placed back onto Richard Harrow…and, wow, how utterly depressing it must be for him to go from a dreamworld where he’s still the man he used to be back into a reality where his face frightens children. Nucky looked like he might’ve been as least slightly more sympathetic about the situation than Margaret was (which stands to reason, given that it was her daughter who had the bejeezus scared out of her), but he’s right: after his assassination attempt last week, they are already on edge. Hearing the shriek of her child no doubt stopped Margaret’s heart cold.

Sepso’s trying to look as utterly innocent as possible as he swears up and down that he had no choice but to kill Billy in self-defense, even going so far as to claim that the incident will haunt him for the rest of his days, but Van Alden’s expression when Sepso’s exonerated reveals that he doesn’t even remotely believe him, and he only gets more exasperated and infuriated as he’s accused of being a bungler. He’s got one more chance before his career comes crumbling down around him…and, boy, does he know it. The later scene with him flipping through his paperwork, trying desperately to find a way to bring down Nucky, is pitiful.

Angela’s painting a peaceful beach scene when Jimmy emerges from the bedroom for his first cigarette of the day and compliments her on her artwork. She seems mildly surprised that he’s even been paying attention. When he first started groping on her, I thought she was getting annoyed, but instead she found herself titillated to the point of letting her canvas clatter to the floor and allowing Jimmy to have his way with her. Clearly, their relationship is getting at least somewhat back on track.

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Weekend box office: There’s no way other way to say it, Harry Potter is a lot more popular than Russell Crowe

So, folks, here’s your key to box office success: fund the kind of European-styled welfare state that would drive Tea Party activists into a state of complete hysterics, if they weren’t already there. With impoverished moms actually having a modest amount of free time to themselves because they don’t have to worry about their children starving or being unable to go the doctor and your society as a whole benefiting from improved physical and mental health, wait for one of those moms with a literary bent to come up with a once-in-a-century sensation of a book series. Hopefully, it will be aimed at a young audience with time to watch each movie several times. Then, film it — competently, will suffice, no particular need for brilliance — making sure, as Anthony D’Alessandro reminds us, to avoid the need for a momentum-killing reboot by recruiting strong and likable leads you can continue with for the entire length of the franchise. Repeat.

Daniel Radcliffe can probably afford better mirrors than this That’s pretty much the formula for the massive success of the Harry Potter film franchise. So, as stated Thursday eve, the question for the first weekend of “Harry Potter and the Deathly Hallows: Part One” was always whether it would have a great opening or the greatest opening of all time. Well, it did have the greatest opening of all time…for a Harry Potter film. To be specific, according to Box Office Mojo, it earned an estimated $125 million, still well shy of the current opening weekend record holder, “The Dark Knight,” which grossed over $158 million on its mega-huge opening weekend.

On the other hand, that is a series best, significantly well north of the $102 million and change earned by “Harry Potter and the Goblet of Fire” five years back. Also, as the saying goes, $125 million here and $125 million there, and pretty soon you’re talking real money. The emotionally rather dark-hued installment (I haven’t seen it, but I’ve read the book, and I can only imagine) also earned the highest per-screen average this week, a rather unusual achievement for a super-wide release like this, earning a whopping $30,332 average in over 4,100 theaters. That’s a nice infusion into our failing economy, as well, even if we have to share it with billionaire ex-welfare mom J.K. Rowling and a bunch of other Brits because of that whole welfare state thing I propagandized for up top. Well, don’t worry because “austerity” might mean that there won’t be any more new English Rowlings for a while, either. Still, she’s got another even bigger pay day ahead of her with the upcoming 3D series finale.

Meanwhile, last week’s trinity of top moneymakers held on decently with drops somewhere not too far above the 40% region. #2 “Megamind” amassed an estimate of $16.175 for its world domination war chest; runaway train thriller #3 “Unstoppable” was not stopped and earned an estimated $13.1 million; #4 “Due Date” avoided lateness penalties in its third weekend for a star-driven $9.15 million.

Meanwhile, the wide theatrical run for Russell Crowe‘s latest may not be all that much longer than, you guessed it, “The Next Three Days.” Paul Haggis’s underwhelmingly reviewed thriller costarring Elizabeth Banks debuted in the deadly #5 spot with only $6.75 million. The budget on the film, which could well be very modest if you subtract Crowe’s paycheck, is unknown at this point, but Nikki Finke is quick to remind that marketing costs for a film like this pretty much start at $30 million.

Will Russell Crowe and Elizabeth banks last for

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