Tag: Nikki Finke (Page 10 of 12)

RIP Army Archerd

Army ArcherdHe might have seemed as much of a permanent Hollywood fixture as the Chinese Theater or Musso & Frank, but columnist Army Archerd, for decades the writer of the “Just for Variety” column, past away yesterday from cancer at the age of 87. Growing up in Los Angeles with a permanent eye fixed on the movies, I was nevertheless rarely a regular Variety reader except when I was lucky enough to be working someplace with a subscription, but Archerd’s importance was obvious.

He was a fairly far cry from the muckraking and abrasive Nikki Finke and a much further cry from the punishing, often vindictive, gossip/entertainment columnists of the past like the mean-spirited but powerful Walter Winchell and Hedda Hopper. Indeed, I had kind of forgotten that the younger Archerd had fought the Hollywood blacklist. Winchell and Hopper had done very much the opposite.

When Archerd broke a personal story about a celebrity it wasn’t to try and “destroy” them and, in the most famous instance, it was a social good — though not everyone thought so at the time. For those who can’t remember the news that aging onetime superstar Rock Hudson had AIDS, it’s hard to explain the importance of the event. It was the first time many had even heard of the disease, which was already devastating the lives of untold numbers of people. Even in L.A., where Hudson’s sexual preference was an open secret even outside the show business world, the news raised the awareness of the quickly spreading disease far beyond the confines of the gay community, where it was already a devastating fact of life. Outside of Hollywood, it was also maybe the moment where “middle America” became aware that some of their favorite performers were not heterosexual.

For me, however, however, Archerd was always the pleasant, calm guy I grew up watching at the Oscars or at the Hollywood Christmas Parade. I was never a regular reader of his column, but he was just always there. I don’t know what to say except that I half expect those cement footprints in front of the theater Sid Grauman built might go away, too. Nikki Finke and, of course, Variety have excellent obituaries up.

Also, see Finke’s comments. Starting off with one by actor/activist Mike Farrell (“MASH”), it’s a pretty moving tribute.

Neverending battles

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Some continuations of ongoing tales in the never ending movie wars…

* Naturally, Nikke Finke has more on the Disney-Marvel deal. Of course, there’s a discussion of Universal’s currently existing use of Marvel licensed characters at theme parks, which Finke points out is pretty much a job security plan for lawyers. Disney may spend decades slowly bringing the characters fully on board. Much more interesting to me is another post on the background of the deal. It’s been brewing for nearly a decade, but she reminds us of the genetic link Iger has to the history of comics.

His late great-uncle (his grandfather’s brother) was illustrator/cartoonist Jerry Iger, who partnered with illustrator/cartoonist Will Eisner back in the 1930s to create — you guessed it — the comic book packager Eisner & Iger Studios...And their first hire was Jack Kirby, who as you know later became the co-creator of many of Marvel’s best known characters with Stan Lee.

Kirby almost needs no introduction. Eisner, for those of you with less than obsessive old school comics knowledge,  is probably the comic book equivalent of John Ford with a dash of D.W. Griffith in terms of his influence on the medium as an artist/writer. He was also a very successful entrepreneur on various ends of the comic book industry for decades. (He’s best known as the creator of “The Spirit,” a great series which may take years to recover from the damage done to its memory by Frank Miller’s reprehensible film version.)

* I haven’t really had the chance to geek out with either friends or even online about how much I loved “Inglourious Basterds.”  If you were similarly entranced and want to read more, more, more about the movie, you need to check out last week’s ‘net colloquy between Dennis Cozzalio of Sergio Leone and the Infield Fly Rule and Bill R. of The Kind of Face You Hate. It’s an involved discussion that went to some surprising places as it addressed some explosive comments by film historian/critic Jonathan Rosenbaum, who eventually was mensch enough to join the discussion.

It’s a lengthy three part discussion at two sites, but probably the easiest place to start is the final post, because it has links to the previous three. Got it? There are some fairly significant spoilers hidden here and there, for sure, but if those don’t bother you too much and you haven’t gotten around to seeing the movie, you still might want to check it out. I was already spoiled on the main ones before I saw the movie, and it didn’t harm my enjoyment of it.

* One of the main villains of “Inglourious Basterds,” who has recently been making a name for himself one of the more recognizable ‘net commentators on geek matters, weighs in on last weeks “Avatar Day.” (H/t Den of Geek.)

3-D “Final Destination” wins horror franchise battle

The Final Destination

Apparently the lure of bizarre deaths in 3-D was somewhat stronger than more traditional forms of slaughter this weekend. “The Final Destination” won the violent, R-dominated movie derby this weekend and died its way to an estimated $28.3 million for New Line. So says THR/Reuters and Nikki Finke, with Ms. Finke mentioning those 3-D ticket prices as its main advantage against  The Weinstein Company’s latest return to the Michael Myers well, “Halloween 2.” The slasher flick came in at the #3 spot with an estimate of $17.4 million, which actually could have been a lot worse. Judging by the post-release reviews that are trickling in at Rotten Tomatoes, the good will Zombie earned from gore-friendly horror fans on “The Devil’s Rejects” seems to have largely dissipated with this entry. Moreover, Finke’s post and comments are full of remarks on the oddness of facing off two scare-franchises on the same weekend when many students start returning to school. And there’s also the matter of the Weinsteins competing against themselves.

Melanie Laurent
And that brings us to “Inglourious Basterds,” which held well at $20 million on its second weekend, dipping a better-than-average 47% according to Pamela McClintock of Variety, which will no doubt be assuaging whatever disappointment Harvey Weinstein may feel re: “Halloween 2.”  The performance of “Basterds” is pretty magnificent considering last week La Finke and her sources were talking about a huge 70% drop because of the perhaps overestimated returning-to-college factor and, I’m guessing, their prejudice that “Inglourious Basterds” simply can’t possibly be an ongoing moneymaker in the U.S. market.

I caught up with “Basterds” yesterday. I guess it’s no surprise that a Tarantino-positive cinegeek with a heavy retro tendency like myself would hugely enjoy this borderline surrealist World War II opus.  However, it really was something to be in the presence of a very mainstream, semi-surburban cineplex audience rapt with attention during long stretches of subtitled dialogue in a film full of the kind of homages and film references that are supposed to ruin a movie’s chances. Proving, I suppose, the power of stories and characterization to overcome an audience’s prejudices, if not the cynical preconceptions of those inside the Hollywood bubble. Of course, it’s just easier to blow things up to please a young and male audience, and Tarantino does that, too. So there’s your formula. The other well-reviewed violent genre actioner, “District 9,” held on as well in its fourth week with an estimated $10.7 million.

Taking Woodstock Ang Lee’s “Taking Woodstock” was pretty much a bust. It did even less well than I guessed Friday and made only an approximate $3.7 million, though in fewer theaters than the other major releases. To echo myself, fare aimed at older audiences needs favorable reviews and/or buzz to really succeed, and the mild reaction to this fact-based comedy apparently wasn’t cutting it. Even so, this film probably should have started out with an arthouse release.

Speaking of the arthouse circuit, as often happens specialty fare hosted the biggest per screen averages of the week. The documentary “The September Issue” featuring Vogue editor Anna Wintour did smashing business in its first weekend in six New York theaters, with some $40,000 per screen according to Box Office Mojo. Presumably every fashionista in the area turned up to see what I guess might be marketed as the real life version of “The Devil Wears Prada.” Not quite as great, but still at least as strong as a stocky sports geek’s headbutt, was the Bullz-Eye/PH approved “Big Fan,” which did a healthy $13,000 on each of its two coastal screens this weekend.

Patton Oswalt and Kevin Corrigan in

A post without a Tarantino

I just woke up and realized that there’s more to life than our talented and ever controversial lantern-jawed friend. For example…

* I’ve made it clear too many times that I’m not innately hostile to remakes. But in the annals of apparent bad ideas, Robert Zemeckis using his invariably uninspiring/unconvincing style of motion-capture to remake the Beatles psychedlic animation “Yellow Submarine” is a real contender. I don’t consider the original a great film but it is what it is and remaking it with two of the original Beatles now long passed on seems bizarre to me. I truly don’t see a point here, but maybe I’m missing something.

* I’ve been remiss in not mentioning the whole mishegas going on between Redbox and Warner Brothers. If Warners doesn’t want to sell them the titles prior to 28 days after their release on home video, I’m not sure if there’s any legal justification for forcing them too, but then I’m not a lawyer. On the other hand, as Patrick Goldstein points out in the article from Monday I linked to above, business models like Redbox are going to be unavoidable as the home entertainment market becomes ever more important.

I get more DVDs than I have time to watch for free as part of my critic gig, but I honestly have never understood why anyone would purchase a DVD of a movie that isn’t a huge favorite, much less a movie they’ve never seen before. It’s not like a CD where you can pop it into your car stereo or put it on for background music while you make dinner and, of course, people are figuring out ways to not buy those as well. Seems to me that the economy is forcing people to be a little more discriminating.

* Executive Tom Sherak is the new head of the Academy of Motion Pictures Arts & Sciences (AMPAS to its friends), stepping in for the term-limited Sid Ganis. Anne Thompson has no problem with it. Stepping right into character, Nikki Finke has a huge problem with it, and so do many of her commenters, while the rest are pro-Sherak. Why is it that every time I read the comments at Ms. Finke’s, I get the feeling I’m watching the road company version of “All About Eve”?

* The guy has “movie star” written all over him — he’s a little bit Gregory Peck, a little bit Cary Grant (including Grant’s gift for comedy), with a touch of young Montgomery Clift — so especially with the widely touted ratings success of “Mad Men” on Sunday night, it’s no surprise Jon Hamm is getting movie work. The latest addition to his resume is Zack Snyder’s “Sucker Punch”. Anne Thompson prefers “The Town,” however. One thing’s for sure, if anyone ever decides to do “The James Mason Story,” he’s the guy.

A lull, of sorts

You can feel it. After more than a week of Hollywood flacks being in overdrive announcing every comic book-derived, science fiction, fantasy, and horror project they’ve got, things have suddenly gone a little languid as we enter something like the late summer doldrums. That’s highly relative in a business where ADHD sufferers are seriously over-represented, but even Nikki Finke is mostly ignoring movies and has turned her megablog into a detailed celebration of every aspect of the parting of her bete noir TV executive, Ben Silverman.

But that leaves room for a couple of items relating to two filmmakers who are always worthy of attention.

* AICN’s Capone has a chock-full-of-good-stuff interview with Peter Jackson, whose been busier than you might even think considering the number of projects he’s got going, including some really cool sounding short pieces alongside his upcoming return to his “Heavenly Creatures” “small-movie” mode with “The Lovely Bones.” (Capone also raves about the upcoming Jackson-produced feature debut for South African-born director Neill Blomkamp, “District 9” — already notable because of its semi-unavoidable viral marketing campaign.)

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