Tag: Nikki Finke (Page 8 of 12)

Serious offers and old gossip

Just another sane Monday in movieland.

A robot* Halcyon, a somewhat odd firm with an all but empty website, has officially put its one and only asset and reason for being, the rights to “The Terminator” franchise, on the auction block. So reports Variety and Nikki Finke. Suddenly, over at Whedonesque — yes, the Joss Whedon fansite where the beloved cult TV and occasional film creator occasionally posts  — Whedon links to it and posts a very serious offer. So serious, in fact, that Finke — who occasionally claims she “doesn’t do geek” runs the item. Meanwhile, back at Whedonesque, the Whe-man and a commenter who appears to be both a fan of the Joss and the late singer-songwriter Warren Zevon (some folks are just blessed with too much taste) note an earlier serious offer.

Quote of the week (probably):

Well, here’s what I have to say to Nikki Finke: you are a fine journalist and please don’t ever notice me.

* Sony Classic has picked up the rights to “Mother and Child,” the latest film from arthouse/cable director Rodrigo Garcia, still probably best known to a lot of people as the son of Columbian literary great Gabriel Garcia Marquez. It’s not too surprising a pick-up, even in this tough market, given that the cast includes Annette Bening, Naomi Watts, up-and-comer Kerry Washington (“Ray,” “The Fantastic Four”), and Samuel L. Jackson.

* The box office “actuals” for most of the big releases turned out to be a couple of million higher than the estimates I reported yesterday. Sorry MJ’s ghost.

* Thinking about “The Men Who Stare at Goats” which comes out this Friday, Jeff Bridges gets appropriately trippy but not in too dudish a way.

* This is a few days old, but for those of us who find ourselves unduly fascinating by the Church of Scientology, via Kim Masters, here’s an interesting new story opened up last week. Writer-director Paul Haggis (“Crash”) announced he’s leaving the church.

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Friday movie news dump

It’s that time of the week when we offload the week’s last few stories.

Will Ferrell in * In the wake of his “Land of the Lost” debacle, Will Ferrell is going back to “Stranger than Fiction” territory with a more low-key form of comedy, writes Mike Fleming. “Everything Must Go” will be from first-time feature director Dan Rush and is based on a story by Raymond Carver — not an author frequently connected with hilarity though the script is apparently primarily a comedy and the premise (a newly unemployed guy’s wife locks him out and deposits his stuff on the lawn…and the guy responds by trying to sell all of it) sounds potentially pretty funny.

It’s important to remember that, once upon a time, not all comedies were expected to be laugh-riot farces and, ironically enough, they were often funnier anyhow. (The classical definition of comedy, by the way, is less about being funny and more about having a happy ending. By that definition, many black comedies are not comedies at all.)

* More from Fleming: Robert Redford’s new Lincoln conspiracy film started shooting on Monday and he has quite a cast assembled. This one could be good.

* American liberals like me complain a lot, and for very good reason, about the actions of media mega mogul Rupert Murdoch, particularly in regards to how his TV news network is essentially an arm of the Republican Party. But, it could be a lot worse. Italy’s scandal-ridden, far-right movie and TV mogul Murdoch-equivalent actually runs the freaking country and I bet Italian rightwingers cry about the “liberal media” and the evils of the Rome film-making establishment too. But, hey, at least they have health care,.

* Speaking of media moguls, Nikki Finke believes that GE may ultimately divest itself of NBC Universal, which may please ecologically minded and antiwar folks while depriving “30 Rock” of one of its best running gags. Still, Finke says it may be seven years before it’s complete, so Tina Fey & company should be able to milk it sufficiently. Also, Finke wonders about Ted Turner’s mental health in regard to Time-Warner.

* It may be last summer’s news here in the U.S., but “Up” continues to land on top of the global box office.

A hat for J.J. Hunsecker

Considering this morning’s mishegas between me and certain newly widely read show biz blogger in the comments section of this post, I thought a look back at the mystique of the super powerful columnists of olden times might be in order. Believe me, whatever you think about Nikki Finke, she’s as harmless as her now legendary pussycat when compared to folks like Hedda Hopper, Louella Parsons, and, even more so, Walter Winchell, especially as fictionalized in a certain 1957 classic.

And here’s the late Miss Hopper in a lighter mood, with music by the great Spike Jones and his City Slickers

A somewhat abbreviated box office preview — mercifully there’s only one new major release this week though that’s not quite the whole story — will be coming along Friday morning/afternoon (depending on where you live and how early I get up).

How do I top that?

It’s a crazy and very busy day, I’m still recovering from some extremely mild case of the blahs or something, and surely doubt there’s anything I can write more interesting than the colloquy in the comments of my earlier post on mega-online entertainment news/opinion doyen Nikki Finke, in which Ms. Finke posted a response, I posted a response to the response…and, well, you can all see for yourselves but parts of it were not pretty.

Still, I’d like to draw your attention to an interesting and not unrelated post on the whole question of journalistic — if that’s the world — ethics in this brave new online world we’re all in by Anne Thompson. Not only is her piece on the issues brought up recently food for much thought, but the ad hoc symposium in comments is must reading and includes comments by several well known critics, including her immediate subject, James Rocchi, as well as guest appearances by Harry Knowles, Jeffrey “the Dude” Dowd, Todd Gilchrist, and many other fine folks including a brief comment by me. It might be a bit inside baseball/meta for some, but definitely worth a look for anyone interested in this whole new media world we’re all carving out right now.

Just for the record, I don’t consider what I do here and elsewhere journalism in the normal sense but an attempt to honestly entertain and educate whoever happens to be reading. As long as the acceptance of a free DVD, screening, a paycheck, or fabulous all-expenses trip to fabulous Bermuda or Culver City doesn’t get in the way of that, there’s no problem. And, if it does, we have no one to blame but ourselves and you readers will eventually catch on. I also try to avoid actually reviewing movies by people I actually know personally a bit too well to be objective or even commenting on them without noting the relationship. For example, this link to a very exciting, violent, and sensual tongue-in-cheek extravanganza is only here because I’m friends with the filmmaker and I’m actually in the movie. Honesty — always the best policy.

Look here’s a great (and NSFW) trailer I just discovered. Ignore the little balding guy with the strippers!

Think Finke

One item I skipped over recently that I don’t want to ignore forever was the recent New Yorker profile of Nikki Finke, complete with an illustration of her from “Love and Rockets” cartoonist Jaime Hernandez. Finke’s response was a nasty — even by her standards — megasnark smack down of the article which basically had her bragging about how she hates the venerable magazine these days, how she, various industry types, and Harvey Weinstein supposedly  manipulated the content of the article, and how she claims to have played editor David Remnick and writer Tad Friend in a way that the legendary Finke could, of course, never possibly be played.

Nikki Finke as drawn by Jaime HernandezMaybe it’s my lingering demi-illness throwing me off, but am I to understand that I’m to applaud Finke for doing the same thing she regularly attacks people for doing with regard to manipulating the press? Or is it okay to manipulate, but not to be manipulated? Does it only take one to tango? Or is it just cool to be as nasty as you can possibly be? It sure seems to work for her commenters. It’s as confusing as the time she counseled me not to be a “hater.”

Of course, when we’re dealing with someone as apparently mercurial as Finke, the levels of double and triple meanings in a post like hers are so deep as to basically cancel themselves out. While it’s level of absolute metaphysical truth is impossible to discern, personally, I think Friend’s article does a pretty good job of capturing the appeal and power of Finke and the sort of inherent meanness of so much of the business side of Hollywood which, all to often, Nikki Finke seems to celebrate.

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