Tag: James Franco (Page 4 of 4)

Midweek movie news

You’d think Jewish New Year and Labor Day coming so close together would slow down the pace of movie news a little, but leisure is for suckers and Yahweh is just another bit player in this hard luck town.

* The talk of the geek-o-sphere for some time is going to be the announcement of a massive and potentially trendsetting film/television cross-over adaptation of Stephen King’s multi-volume “The Dark Tower” mega-epic. Universal, which has had some very tough times lately, is taking what I’m guessing could be a make-it-or-break-it gamble on the project, the news of which was broken by Mike Fleming earlier.  I’m not a King reader, but I am intrigued by the fact that it’s a western-science fiction-horror cross-breed. In any case apparently the plan is to start with a movie, go to a 22 episode not-so-mini-series, and then onto another movie, another series, then wrapping it all up with movie. The idea being to provide fans with both the grandeur of theatrical films and the detail and time of a television series.

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It’s intriguing but laden with potential pitfalls. One is that it demands an awful lot of time and people who aren’t following the series may feel shut out of the latter two movies. The other is that, quite frankly, I feel the “A Dangerous Mind” creative team of director Ron Howard and writer Akiva Goldsman — who I gather will be writing and directing the first two films and the entire first series at least, which could be some kind of record if that’s what’s really going to happen — simply haven’t indicated they’re up to this kind of material. I hate to say it but winning Oscars can be negative indicator sometimes.

It’s not that I doubt their ability to crank it all out. Howard is obviously a very competent director who knows how to make highly professional material and I have tremendous respect for him as an individual and one of the more positive forces in Big Moviedom. However, he’s always shown a tendency to play it safe and often a bit dull when the chips are really down creatively as a director and none of Goldsman’s movies have been all that inspiring to me either. All I’m saying is that I had a good feeling about Peter Jackson taking on “The Lord of the Rings” and I have a bad feeling about it, though I’d seriously love to be wrong.  Something tells me this project needs a real lunatic and Ron Howard is one of the sanest guys in show business. Huge King fan Quint at AICN has similar misgivings. He has a more riding on this than I.

* Simon Abrams is right re: “Kick-Ass” doing a lot better than people assumed. Even though I cover the weekend grosses here, we all make way too much of those openings and fail to look at the overall picture. Calling a movie a bomb that makes nearly half its budget in its opening weekend is just idiotic anyhow. The actual success of the film may have figured in the ongoing financial struggles between Lionsgate and Carl Icahn.

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Trailer time: “127 Hours”

Starting with the Black Knight scene from “Monty Python and the Holy Grail” and the “let’s make sure we don’t accidentally get a G-rating” cantina sequence in “Star Wars,” not to mention largely offscreen bits that were nevertheless highly emotionally intense in movies like the Brian DePalma/Oliver Stone “Scarface” and Ang Lee’s underrated 1999 “Ride With the Devil,” it’s been kind of a long time since a single amputated limb has been considered extreme cinema. Director Danny Boyle and writer Simon Beaufoy may force us to reconsider that with “127 Hours.”

According to /Film, word has it that “127 hours” contains a solid hour of screentime without dialogue. If Danny Boyle doe his job right, I’m guessing even the most gleeful gorehound, might be taken aback by the crucial sequences in this film. In case you haven’t guessed already, it’s based on the real-life experiences of mountain climber Aron Ralston, played here by James Franco, who faced the ultimate survival challenge and won — but at the cost of having to remove his own arm.

Audiences who have no problem seeing people torn apart by bullets at the movies regularly squirm when we see an onscreen blood test or an actor playing a junkie pretending to shoot up. How will they react to a closer to real-time self-amputation? How will Boyle — not a particularly squeamish director by any means — deal with it? And what about my squeamish self? The MPAA R rating is for “language and some disturbing violent content/bloody images” which sounds relatively restrained and about par for the course, but who knows? Will anybody want to see this? Assuming it’s well received, what about the Oscar people? I have no idea how people will react to this one.

SXSW 2010: SATURDAY NIGHT

“Saturday Night Live” has been harshly criticized over the years for failing to deliver quality episodes each and every week, but have you ever stopped to think just how difficult that really is? In James Franco’s all-access documentary, “SATURDAY NIGHT,” audiences finally get a behind-the-scenes look at the arduous task of putting together a 90-minute live show. Capturing every step of the creative process – from the actors and writers pitching their ideas to the week’s host (in this case, John Malkovich) to putting on the final show – the film delivers an honest look at the high-stress, dog-eat-dog world of sketch comedy. With only 24 hours to conceive and write their sketches (and guys like Will Forte seemingly sleepwalking through most of it), it’s amazing that any of them can be funny at all. Perhaps more shocking, however, is that only nine of the 50 proposed ideas actually make it into the final show.

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“SATURDAY NIGHT” focuses on just a handful of them, and it’s here that we see the evolution that each one goes through along the way, including rewrites and last-minute edits that come out of rehearsals. We also learn that while some sketches (like one lampooning the Empire Carpet commercials) bring down the house during the initial round of table reads, by the time it comes to performing it at dress rehearsal only hours before the live show, it falls flat with the audience, forcing the producers to pull it from the line-up. Franco gets some good interviews with the cast and crew, even putting himself on camera to discuss his own hosting experience, but he doesn’t really document anything that someone with the exact same access couldn’t do. “SATURDAY NIGHT” is still a fascinating study of a particular facet of the entertainment industry, and if there’s anything to take away from the documentary, it’s that these guys are only human. As one producer aptly declares when discussing future cast members: “If you’re a perfectionist, don’t come here, because nothing is ever perfect.”

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