Tag: Oscars (Page 9 of 10)

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.

Holdovers nail Labor Day audiences

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Sorry, I couldn’t not use the image above, since it graphically demonstrates what happens when the studios release a trio of unexciting-to-detested entries into a Labor Day market full of strong, and strongly violent, competition. It starts with this week’s b.o. winner. It might not be anything resembling a critical darling, but “The Final Destination” boasts the power of gimmicky horror added to the additional gimmick of 3-D, offering some pretty easy to sell ghoulish fun to audiences, who bought it to tune of an estimated $15.4 million over the long weekend.

Brad Pitt contemplates his masterpiece.And this year’s cinephile sensation is also a hit with audiences. “Inglourious Basterds” held beautifully in its third weekend and only came in a few points below its “Final” competition with an estimated $15.1 million. Word of mouth, or tweet, or whatever is obviously working in the long-awaited WWII-flick’s favor — as may be the fact that every film geek in the world is probably going to see it at least twice, if not thrice.

Variety‘s Pamela McClintock also reports that “Basterds” actually won the day on Sunday. She also mentions that with a domestic “cume” of $95.2 million, the wartime fantasia is now Tarantino’s second biggest earner after “Pulp Fiction,” which made just below $108 million back in 1994. Adjusted for inflation, that number may still be hard — though not impossible — to beat. Not adjusted for inflation is looking easier all the time to me. When you consider the near absolute certainty of at least two or three Oscar nominations (quite possibly several more at this point), I’m not sure when this thing stops earning signficant money. Also, THR reports “Basterds” topping the international charts in a slow overseas weekend.

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The post-Disney/Marvel merger world…

Is starting to look a lot like the one we knew before it.

* We’ll start with the good news. It’s been a very good summer, money wise, at the movies. In fact, the best ever…well, skyrocketing ticket prices help, but still.

* Nikki Finke might have had 11 updates to her initial post about the purchase, but she’s already moved on to bad blood in the Writers’ Guild election and, of course, her latest snit. This time, she’s furious about a new system of Oscar voting in which voters will name list the films in order of preference, so that a film with a huge number of second choices could beat a nominee with most first choices, if you follow. Typically, Anne Thompson‘s view is more sanguine. Personally, I think it will just underline the Academy’s inherent conservatism in choosing winners. Those of you hoping for “Inglourious Basterds” to be Best Picture were just dealt a serious blow. Since when was being the year’s Best Picture had that much to do with actually winning it?

* Of course, even as a good chunk of L.A. burns — a summertime tradition around these parts — and even our TV and radio transmitters, and the historic Mt. Wilson observatory are threatened, there’s no stopping the fannish speculation from the both the comic book/movie fan crossover world and more established bloggers. Christopher Campbell chronicles both today. Personally, I’m having some second thoughts on my own politically-based negativity about it this morning, though overall media consolidation is a real problem in terms of limiting the “marketplace of ideas.” This is just far from the worst example.

* And, on the heels of this comes talk of another early franchise reboot, this time of the Fantastic Four. Okay, but if they’re really like to save some money and offer mainstream audiences something that will really surprise and delight them, I believe a finished film is still sitting in the can, all ready to go.

“Basterds” Redux

As John F. Kennedy used to say, “success has a thousand fathers and failure is an orphan.” One thing’s for sure, both generate a ton of ink.

* I’m still of two minds on this whole Twitter business in terms of whether or not it really speeds up what we used to call “word-of-mouth” on movies. It seems to me we’ve had texting for awhile now, though the proliferation of iPhone and other communication devices is a new factor and must be having an impact. Unlike texting, you don’t pay on a per-Tweet basis, so maybe. Steven Zeitchik, however, is more certain and guess which movie he thinks is the first to officially benefit. (If you haven’t already been spoiled at all on the not-ripped-from-the-history-books ending of “Inglourious Basterds, you might want to skip this one.)

* Tom O’Neil at “The Envelope” speculates on awards strategy for releasing “Basterds” now rather than closer to award season. To me, Weinstein’s decision to highlight the musical “Nine” over this seems more than self-evident. Assuming the film is not a complete turkey, that film’s Oscar chances should be better.

Quentin Tarantino‘s films are not Oscar-friendly. The older members of the Academy have traditionally leaned strongly towards a very traditional, essentially literary and middle-class, view of quality which is pretty much the antithesis of the Tarantino aesthetic. It’s only been through his widespread acclaim and a subtle loosening of old prejudices that his films have gotten the definitely limited Oscar recognition they have and, considering what some regard as a too lighthearted view of World War II horrors, I wouldn’t expect this one to be much different. Of course, with ten nomination slots for Best Picture, and the universal groundswell of acclaim for heretofore internationally unknown German actor Christoph Waltz, two or three nominations (including the semi-inevitable “Best Original Screenplay” nod) are almost a certainty.

If you want an example of the kind of old-school middle-brow snobbery that’s always stood in the way of Tarantino — and Alfred Hitchcock, Howard Hawks, Don Siegel, Sergio Leone, etc. before him —  Peter Bart provides it for you. Some commenters respond aptly.

* Paul Laster at Flavorwire has a revealing interview with production design husband-and-wife team David Wasco and Sandy Reynolds-Wasco about “Inglourious Basterds,” the Jack Rabbit Slim’s set from “Pulp Fiction,” and other films. Considering that they also work with Wes Anderson, these two are crucial collaborators with our most talented masters of movie stylization working, and the current heirs to people like the great Ken Adam, the production design genius of “Dr. Strangelove” and “Goldfinger,” among many others. (H/t David Hudson@Twitter…okay, so maybe there is a Twitter effect on filmgeeks.)

Now is the time at Premium Hollywood vin ve dance.

Harvey and Quentin, Oscar, Michael’s good night (and more bad reviews), Doug J., Guillermo, and Frankenstein

As I prepare to dive back into LAFF, I’ve got some quick items with a mostly geek-friendly bent to keep y’all satisified.

* Remember those reports that latter day mogul Harvey Weinstein was pressuring Quentin Tarantino to shorten “Inglourious Basterds”? Well, Harvey’s back to tell you they were all BS, and he’s not bothering with the initials.

* The Academy has surprised just about everyone by announcing that this year’s Best Picture category will double from the usual five nominees to ten, as it was in days very long past. Nikki Finke, aka the $14 million blogger, is displeased, and she might have a point. Personally, I love the Oscars, but anyone who thinks that awards are any particular indicator of absolute quality is, well, kinda dumb. It’s all wonderful hookum and self-promotion to me, though its possible this is too much of a good thing.

* Michael Bay’s “Transformers: Revenge of the Fallen” had a fine opening midnight indeed. And IFC’s David Hudson shows how he’s allowing some critics a fine target, as well, including the fanboy film friendly folks at AICN.

* The very talented actor Doug Jones, a friend of a friend who I’ve had the pleasure of meeting a couple of times, is probably the most famous man in Hollywood who’s almost never recognized. That’s because most of his acting is done in heavy disguise, but the man behind the Silver Surfer, Hellboy’s pal Abe Sapien, and two of the funkiest monsters in film history from the fantasy-horror masterpiece “Pan’s Labyrinth” is being kept busy by his frequent boss, “Pan”/”Hellboy” director and all-around cool guy Guillermo del Toro. The latest from an interview with Sci-Fi Wire is that Jones is scheduled to play the monster in “Frankenstein” in a new version to come along in about five years, right after del Toro has a chance to finish his work on the two scheduled “Hobbit” films.

The voluble and often hilarious del Toro is easily the premier monster film maker of our time, and the fact that he is turning to Mary Shelley’s proto-monster tale with Jones is exciting news indeed. If anyone can step into James Whales’ shoes comfortably it’s the guy who once told Terry Gross that, much as Christians accept Jesus as their personal savior, at an early age he accepted monsters into his heart. And, anyone whose seen Jones’ work knows he’s perhaps the only human alive who can make those huge Frankenboots first inhabited by the great Boris Karloff his very own. This one could be a spiritual experience.

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