Tag: Jeff Bridges (Page 3 of 7)

It’s your end of week movie news dump…

And I mean that in the nicest possible way.

* Champion poker player Chris Ferguson is making movies, writes Mike Fleming. He’s probably as well prepared for the business as anyone could be.

* I can’t help but think that this Anne Thompson item about two sets of brothers bidding for Miramax — one pair of them being Mira and Max’s sons, Harvey and Bob Weinstein, and the other being the wealthy Tom and Alec Gores — is somehow related to an odd claim by actor Michael Madsen. In a radio interview, the voluble and consistently amusing Madsen stated that Quentin Tarantino‘s long shelved concept for a combined “Pulp Fiction” and “Reservoir Dogs” prequel about his and John Travolta‘s characters has been revived. How? Well, it will now be a sequel and…well, you have to go over to Peter Hall’s post at Cinematical, but it also involves two pairs of siblings.

quentin-tarantino-characters-mr-blonde1

Do I buy this? Well, it does sounds like Tarantino in that it’s kind of a doubling up of a gimmick used by a favorite director of his to overcome a similar sequel obstacle.  (If anyone out there has seen John Woo’s great 1980’s Hong Kong pistol operas, “A Better Tomorrow” and “A Better Tomorrow II,” they’ll know what I’m getting at.) Still, the whole thing has a shaggy dog story vibe to it that I suspect means we’ll never, ever see a “Vega Brothers” movie of any sort. I also get the vague feeling that it’s just possible Mr. Madsen and/or Tarantino is having us all on, as the Brits say. Still, I’m sure Mr. Tarantino’s trips to Tijuana can have a way of stimulating the imagination.

* Anne Thompson also brings up a very real issue that we Angelenos will recognize regarding the move of the Los Angeles Film Festival to Downtown L.A. L.A.’s downtown is in the middle of, I guess, a rebirth of sorts, but the issues associated with setting it there are legion. We’ll start with the exorbitant cost of parking.

* The porno “Big Lebowski” is upon us. Great production values for porn but, otherwise, I can’t say the (sex free) trailer looks in any way “good,” though I guess Tom Byron does qualify as the Jeff Bridges of the porn world. (Ron Jeremy is it’s Pacino/De Niro, I suppose.) Also, spoofs of comedies almost never work. Still, kind of gives a whole new meaning to “Achievers.”

* I’ve never heard anyone say they miss Michael Ovitz and his noxious effect on Hollywood back in the eighties and nineties. However, Nikki Finke’s lingering venom towards him fifteen years after his departure from the scene is utterly pointless.

* Could it be? An Asian-American comic headlining his own comedy and his character is named neither “Harold” nor “Kumar”? Yes, maybe. The very funny Indian-American stand-up/actor Aziz Ansari, who first came on my radar screen championing the cause of movie consumer rights, could be in the new comedy from “Zombieland” director Ruben Fleischer, writes Jeff Schneider of the Wrap.

* RIP Meinhart Raabe who has passed on at age 94. He was the Coroner of Munchkin City, so I’m not sure who’ll confirm his passing. (I’m so sorry for that, really, but I’m sure the late Mr. Raabe had a sense of humor about that kind of thing, assuming that what I wrote qualifies as something resembling humor.)

js20munchkins_wideweb__470x312,0

A movie news midnight ramble.

It’s a bit late for a Friday night news dump –and most all of  you will be reading this on Saturday morning — but here’s the news…

* Chris Evans has been offered the part of Captain America, but will he accept?

* Christopher Nolan’s multi-star Philip Dick-esque new movie is generating interesting, of course.

* That word about Tim Burton doing an stop-motion version of “The Addams Family” going back to the characters’ cartoon roots struck me as a perfectly reasonable idea. Charles Addams brilliant cartoons have never really be transferred to the screen in quite the fashion they deserve, so why not take another whack, says me. I any case, the whole story appears to be premature.

adams2* Demi Moore and Nia Vardalos: Twitter heroines.

* Friday’s over now. Is Leo the Lion closer to having a new tamer?

* Speaking of lion tamers, Carl Icahn is at the Lion’s gate. (Sorry.)

* Wow, Jeff Bridges was really a lock for the Oscar. George Clooney did his classy Cary Grant thing again and voted for him. Weirdly enough, much as I just about worship Bridges, I actually think Clooney was better in his nominated role than Bridges in his.

* Christoph Waltz wowed the world as Col. Landa, but what he really wants to do, aside from being America’s new go-to bad guy, is direct, at least once. Good for him for striking while the iron is hot, and it’s very hot for him.

* Woody Allen is having second thoughts, it appears, about casting France’s first lady, Carla Bruni-Sarkozy, in his new movie.

Carla-Bruni-Nicolas-1

* The ultra-hawkish rightwing’s answer to having more successful political thrillers is apparently the same as their longstanding and unchanging prescription for foreign policy: more mindless brutality, please. On the other hand, I might pay to see Gene Simmons’ head explode in a ball of flame, though I’m not advocating it.

* Which is not to say there aren’t some conservatives who don’t have something to teach us liberals. The subtly and thoughtfully right-leaning cinephile Bill Ryan, via Dennis the C,  takes apart the latest highly irritaining controversy involving the always irritaining Armond White.

* I can’t say I actually know the man really at all, but film distributor turned filmmaker turned back to film distributor Jeff Lipsky and I have a bit of history (discussed in my interview with him from 2007). His thoughts on returning to the biz are some interesting inside baseball and most of them seem to make a fair amount of sense.  His movie love is sincere, even as his tastes are quite different than mine. And it’s interesting and hopeful to see an Indie guy still excited about theatrical filmgoing. But why on earth does he feel the need to single out the aforementioned Armond White for praise? I could go on…

Your Premium Hollywood Oscar Live Blog

GetCarloAllegri_oscar460

Yes, my friends, the action starts right here, right now, right after the jump.

New comments will go above older remarks, so if you’re reading this later and want to start at the beginning, you’ll scroll down to the end. Got that? Good. Let’s hope for an interesting night and don’t forget to keep refreshing — the page and yourself with the commestibles of your choice.

Continue reading »

Already seen all of this year’s Oscar-nominated performances? Consider some of the actors’ earlier work.

Jeff Bridges, “The Last American Hero” (1973): Even though Bridges’ character is named Junior Jackson, this flick does indeed tell the tale of NASCAR driver Junior Johnson. Based on the story of the same name in Tom Wolfe’s essay collection, The Kandy-Kolored Tangerine-Flake Streamline Baby, those who go in expecting a straightforward racing story will be impressed by the way the film explores its characters.

Morgan Freeman, “Death of a Prophet” (1981): Everyone remembers Denzel Washington’s titular performance in Spike Lee’s “Malcolm X,” but the man formerly known as Malcolm Little had already been portrayed by several other actors by that point, including James Earl Jones (“The Greatest”), Dick Anthony Williams (“King”), and Al Freeman, Jr. (“Roots: The Next Generations”). For these purposes, however, we’re exploring the TV movie which bore the subtitle “The Last Days of Malcolm X.” In truth, you’ll get a heck of a lot more insight into Malcolm X’s life and times by way of Lee’s film, but you can’t say this isn’t an interesting trip back in time.

Colin Firth, “A Month in the Country” (1987): Based on the novel by J. L. Carr, Firth – who plays Tom Birkin, an artist who has been employed to carry out restoration work on a Medieval mural discovered in a church in Yorkshire – offers the kind of performance that no doubt left those who saw the film wondering for many years why the man hadn’t yet become a household name. Here’s hoping that the film will finally get a proper DVD release one of these days.

George Clooney, “Red Surf” (1990): It’s kind of hard not to make a “Point Break” comparison when you look at this verrrrrrry early Clooney film, wherein he and Doug Savant (Tom Scavo on “Desperate Housewives”) play a couple of surfers with a penchant for crime, but the big difference between the two motion pictures is that most people tend consider “Point Break” to be a cult classic of sorts, whereas “Red Surf” often ranks even below “The Facts of Life” amongst Clooney aficionados. It does have at least one thing going for it, though, and that’s Gene Simmons. If you loved him in “Runaway” and “Wanted: Dead or Alive,” you’ll love his work here, too.

Jeremy Renner, “Dahmer” (2002): There are a lot of better films in Renner’s back catalog, and there are certainly a lot worse (four words: “National Lampoon’s Senior Trip”), but this is one which, while certainly not for all tastes, is better than you might expect. Renner plays Dahmer, and it’s the kind of performance that, had this been a ’70s TV movie, could’ve done for him what “Helter Skelter” did for Steve Railsback. Actually, come to think of it, maybe it’s better than it wasn’t made in the ’70s. (When was the last time you saw Railsback in anything?)

“Precious” tops the Indie Spirits

Gabourey Sidibe is Precious

This hasn’t been a very good year for people who like awards surprises. And, so, this year’s most high profile indie film, say it with me — “Precious: Based on the Novel ‘Push’ by Sapphire” —  has won the lion’s share of the more high-profile awards at Film Independent’s Independent Spirit Awards, this year hosted by Eddie Izzard.

To be specific, “Precious” nabbed “Best Feature” from a field that included the very popular “(500) Days of Summer,” Berkeley-bred Cary Joji Fukunaga’s surprisingly assured directorial debut, “Sin Nombre,” and “The Last Station.” Director Lee Daniels, whose work on “Precious” has been the single most criticized aspect of the somewhat controversial film, nevertheless beat the Coen Brothers work on “A Serious Man,” Fukunaga, James Gray of “Two Lovers,” and Michael Hoffman of “The Last Station.” “Precious” also took the Best First Screenplay. The best not-first screenplay went to Scott Neustader and Michael H. Weber of “(500) Days.”

In the acting categories, Gabourey Sidibe received the Best Female Lead for playing Precious herself and, naturally, Mo’Nique proved to own her category fully across all award shows and won the Best Supporting Female category. Among the males, Jeff Bridges, took the Best Male Lead award that is deemed pretty much his due this year for the country music drama, “Crazy Heart.”

Since the $40 million dollar budget of “Inglourious Basterds” presumably put it beyond the realm of the Spirits, Christoph Waltz was not nominated for Best Supporting Male. Instead, he cut a deal in which he collected the award anyway in return for helping the show to end early. Just kidding. Woody Harrelson in his non-zombie-thwacking mode took the award for his work in the low-key stateside wartime drama, “The Messenger.” (My sympathies to Christian McKay of “Me and Orson Welles” — so much critical praise and so few awards even when this year’s male 500 pound gorilla is safely out of the room.)

Anvil! The Story of AnvilBest Foreign Film went to a film that doesn’t feel so foreign now that England is our 52nd state, “An Education.”  Best Documentary went to one some of you might actually have seen and found fun rather than upsetting, “Anvil! The Story of Anvil” defeated a list that included the highly praised “Food, Inc.” (For whatever reason, “The Cove” was not nominated.) Roger Deakins took the cinematography award for “A Serious Man.”

Among the special awards, the John Cassevettes Award, which goes to a film with a budget of less than $500,000, went to a favorite around these parts, Lynn Shelton’s “Humpday,” edging out another film we’ve kind of taken to our breast here, “Big Fan.” The latter film looked, literally, like a million dollars to me, so kudos to the penny-saving producers on that one. “A Serious Man” won the Robert Altman award for its acting ensemble.

You can see a complete list of nominees and winners here. You can also check and see if Indiewire ever corrects their typos here.

« Older posts Newer posts »

© 2023 Premium Hollywood

Theme by Anders NorenUp ↑