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Weekend box office: “Jackass 3D,” a big win for creative stupidity; “RED” a smaller win for chronological maturity

Back on Thursday night, we were talking about a possible $30 million or more for the latest from the usual gang of self-declared prankster-daredevil idiots, “Jackass 3D.” Well, one quick look at the Box Office Mojo’s chart will show you that it turned out to be an estimated $50 million. Considering the film only cost $20 million, that’s a pretty great start, even with a rather large possible second week attendance crash.

No doubt a lot of “Jackass”-generated cash for Paramount — a new record for this time period, though with constant inflation of movie tickets, even in a stagnant economy, I’m never too impressed by these constantly broken records — comes directly from the 3D bump. It seems clear that the format can still make a big difference for the right movie, and this is obviously a special case. Regular readers know I was born without the gene that makes people enjoy the feeling of being grossed out, but even I get that if seeing something, or someone, squirt out of an orifice in 2D is hilarious, then watching it/him practically fly into your lap in 3D must be completely hysterical. The only fly in the stinky ointment here is that inevitable R-rating. I can only imagine how many younger, mostly male, teenagers and tweens are trying to figure out how they can scam their way into a theater (and the correct glasses) or begging older relatives and/or paying neighborhood winos to take them.

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It’s the end of week movie news dump — now, with fewer items!

There really hasn’t been all that much interesting movie news this week, but things have definitely heated up just in the last few hours. Specifically…

* Via Quint at AICN, “The Hobbit” two-movie package has been officially greenlit, with Peter Jackson directing. It’s a good thing because I was really getting tired of those “it’s just about greenlit” “it’s almost greenlit” “no, it’s actually not quite greenlit because of MGM being on the block, nothing to see here” rinse-and-repeat stories. I don’t even care if Nikki Finke and Mike Fleming want to claim a “toldja” on this or how many casting rumors they’re repeating, just make the damn movies already.

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Oh, but first, they’ve got to solve the previously reported issues with SAG and AFTRA. As a good liberal I’m very pro-union and I think that anyone who thinks we’d be better off without unions should be immediately transported to a smokey factory in 19th century London and asked to work a 72 hour week without overtime pay. However, like all the other geeks, I nevertheless think SAG and AFTRA are probably overreaching here and are singling out the movie because of its high profile.

* A related story is also a classic example of an unpleasant news item arriving late on a Friday night in an attempt to bury it. The highly regarded executive Mary Parent — beloved of Joss Whedon fans for giving both the “Buffy” TV and the “Serenity” movie gigs — is officially out at MGM.

* The king of the world is supposedly flirting with making a movie about the queen of the world — not Oprah, but Cleopatra. Angelina Jolie is already set to star in a project that’s already sounding to me as bloated as the wildly over budget 1963 production, directed by Joseph L. Mankiewicz, that nearly bankrupted Fox — despite being the year’s most successful movie (despite being a movie that almost no one likes today).

* It always tempting to make jokes about the porn industry, but HIV is no joke and there’s been an outbreak of it, so far limited to one on-screen sex worker. Is the site of a condom really that much of a boner buzz-kill?

* David Chase is reuniting with musical genius Steven Van Zandt, who played helmet-haired Silvio Dante on “The Sopranos,” as his music supervisor and is taking on a cast of more-or-less unknowns on his planned feature musical drama. This one I’m looking forward to. Before getting his start writing some of the best episodes ever of “The Rockford Files,” Chase was and presumably still is influenced largely by European art films.

BTW, if you’ve never heard Van Zandt’s great radio show and you like rock and roll, you’re missing something. Also, Mr. Van Zandt should be remembered as a human rights hero for his involvement with this great piece of pop music protest.

It’s weekend box office preview time: It’s “Jackass 3D” vs. Helen Mirren with a gun.

Guess which movie I’m rooting for? As usual, however, I won’t get what I want. It’s hard to imagine that the audience for “Jackass 3D” will accept seeing the gross-out-a-thon in any other format and for that reason alone the docu-comedy is expected to outgross the very strong competition from the comic book adaptation, “RED” (as in “Retired, Extremely Dangerous”) which stars Bruce Willis, Morgan Freeman, John Malkovich, Mary Louise-Parker, Karl Urban, and Fred Grandy as Gopher, I think.

Helen Mirren and John Malkovich are

Both the L.A. TimesBen Fritz and THR’s ever-jolly (despite his lousy new theme music) Carl DiOrio agree that the cleverly pitched comedy thriller, putting mostly older actors in the traditionally young-skewing over-the-top action genre, should net about $25 million. The even more cleverly framed “Jackass 3D” should, however, ride those expensive tickets, the spectacle of three dimensional bodily by-products, and the tendency of young males to see movies opening weekend, to about $30 million or more. “RED” should have the longer legs, but presumably “Jackass” has the smaller budget (medical insurance bills for the cast notwithstanding). Both will do fine.

It’s a very busy weekend in limited release. Artistically speaking, the most important films of the bunch will likely turn out to be Olivier Assayas’s mega massive and hugely praised true-life political thriller, “Carlos,” about the notorious far-left terrorist of the 1970s which you can watch all 330 minutes of this weekend in a few showings at the American Cinematheque’s Egyptian Theater in Los Angeles, and I’m tempted to. A shorter 2.5 hour cut is also available for people with less stout buttocks and/or lives to lead. On the other hand, one can never sneeze at a new movie by Clint Eastwood, and “Hereafter,” his second movie to star Matt Damon, begins to appear. This time, the octogenarian Mr. Eastwood takes on the topic of death itself.

Meanwhile, 542 theaters are going to be empty save for a few hardcore tea parties, I predict, this weekend as “I Want Your Money” opens. I’m actually sitting on an interview with director and would-be conservative answer to Michael Moore, Ray Griggs, from Comicon which will likely never see the light of day because it’s mostly quite dull and he had really nothing to say of interest to say about the movie we were actually supposed to talk about. It only got interesting when he mentioned this movie, which he dishonestly tried to pitch to me as nonpartisan. I smelled a cinema rat and, as I now know, the cast is dominated by famed Republican pols like Mike Huckabee and Newt Gringrich. However, a PR person ended the interview before I could try and figure out what the story really was.

Most conservatives would never believe me, but I don’t assume “I Want Your Money” is extremely bad because I disagree with its politics, I assume it’s extremely bad because Griggs last (apolitical) movie got a rare 0% from Rotten Tomatoes, including being slammed by the New York Post’s conservative Kyle Smith. He also couldn’t discuss “I Want Your Money” — or the other movie — with me in a straightforward fashion which doesn’t speak well for him or either movie.  To quote the old rock and roll song, sometimes bad is bad.

“Hey, did you hear Obama’s gonna kill our grandmas?”

Jack Black is…Nathan Spewman, Professional Mis-Informant!

Or, at least, that’s the role he’s playing in a new series of videos that he and America Ferrera have filmed in order to show their support for HCAN (Healthcare For America NOW).

I’m very much of the “politics, schmolitics: funny is funny” mindset, so I’d laugh at these videos whether I agreed with the message it’s spreading or not, but the fact that they’re arguably the funniest thing Jack Black’s done since “Tropic Thunder” doesn’t hurt, either. Unsurprisingly, though, many are too busy grousing about the overall message of the videos to acknowledge their value as entertainment.

In an article on FoxNews.com, Patrick Dorinson, GOP communications strategist and founder/CEO of Dorinson Communications, was quoted as saying, “In 20 years, no one will remember these two ‘stars’ ever existed, but the debt we will pay for ObamaCare will still be here.” Having never really watched “Ugly Betty,” I can’t speak to Ferrara’s chances at career longevity, but given that Black has already been in the business for two decades, I think it’s fair to say that Dorison was really just scrambling to come up with something that would grab people’s attention.

Yeah, I know, there are people out there who really are stupid enough to vote for or against something just because Jack Black says they should. I’m not one of them, though. I’m just enjoying the laughs.

P.S. Don’t tell anybody, but Obama’s the Devil.

Going back to the future re: the mysteries of casting

There’s a clip from the upcoming “Back to the Future” trilogy anniversary Blu-Ray that’s been circulating that I think is revealing. It deals with the semi-legendary firing of Eric Stoltz after a shocking five weeks of principal photography (some films are finished in three or four weeks) and his replacement by Michael J. Fox back in 1985. It’s fairly self-explanatory.

I personally don’t think “Back to the Future” is remotely a “classic,” but it is 2/3 of a great screwball comedy. (I didn’t care for the science fiction portions of the film.) However, it really looks here like it wouldn’t have worked at all with Eric Stoltz. Obviously, we’re not seeing nearly enough, but these very brief clips were obviously selected because something is just clearly off and perhaps not only Stoltz’s unfortunate hairstyle — which might not have been his selection.

The irony is here that, as much as I like and admire Michael J. Fox as an accomplished comic actor and a public figure, in terms of sheer thespian ability, I’d say Stoltz is very likely the better actor — though being an actor and being a star are not the same gig. He’s certainly shown plenty in the way of versatility over the years and you can’t say he can’t be funny, especially given his brilliant turn as the world’s most relatable heroin pusher in “Pulp Fiction.” On the other hand, Fox clearly has something that Stoltz lacks in terms of being Marty McFly. It’s not just maybe knowing his way around a straight-up gag a bit better than Stoltz might have at the time, it’s an “everyman” quality, I guess. As the deformed Rocky in Peter Bogdanovich’s “Mask,” that very same year, Stoltz had that everyman quality, but I guess with his own face, it just evaporates and that slightly sarcastic demeanor of his can’t be entirely hidden without facial prosthetics.

Anyhow, just another reminder that “best actor” and the “right actor” are not the same thing.

h/t Michael Speier.

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