Saturday, July 31, 2010
Poster for 'Enter the Void'. Synopsis from IMDb:
Different. Here are some stills:
And one more poster.
Looks like one to catch. Opens September 17.
Friday, July 30, 2010
Kenneth Turan takes a cursory look at 'Dinner for Schmucks':
I've seen this in many reviews. Critics are saying Carell's character isn't so much nutty as a nut -- an emotionally (and/or mentally) challenged individual who creeps you out. Turan is saying sort of the same thing except he seems to think Barry is scarier than most.
From the glimpses I've had, I'd agree. The energy of 'Dinner for Schmucks' is just too edgy to be appealing. Two hours of Carell being dumb to the point of eeriness is too much.
NPR audio: 2:30
Tom Vanderbilt rundowns being carless in LA and in the movies.
Mark Jenkins starts his review of 'Charlie St. Cloud' thus:
As the title character, Disney pinup Zac Efron doesn't have enough substance to be a cloud; he's more like a barely perceptible Pacific Northwest drizzle, although he'll presumably become more noticeable to the film's target audience each time he takes off his shirt.
I saw a trailer for 'Charlie St. Cloud' which included an exchange between two characters outdoors. Every shot of Character A was lit by the sun, while in every shot of Character B (a few feet away) the sun was obscured by clouds. The effect, cutting quickly back and forth during a conversation, was jarring -- embarrassing to watch. I completely wrote the movie off based on just that scene.
The script (by all accounts) is weak, the direction was of the 'furniture-mover' variety, and editing barely qualifies as utilitarian. And, why feature a technically flawed scene in the trailer?
I don't know why they even bothered if nobody cared about the material.
Thursday, July 29, 2010
CNET on the success of Netflix:
...For the first six months of 2010, Netflix has paid the studios $116 million for streaming content, compared with $31 million for the same period last year. Some analysts expect those payments to keep going up as the company continues to fill out its film library.
Netflix's ability and willingness to shell out big bucks for higher and higher grades of movies and TV shows was clearly illustrated earlier this month when the company announced it had struck a $100 million deal with film financier Relativity Media to acquire about a dozen movies per year starting in 2011. As part of the agreement, Netflix will offer the upcoming film, "The Fighter," starring Mark Wahlberg, Amy Adams, and Christian Bale.
As movie theater attendance and DVD sales continues to decline, those seem like good figures.
There are a lot of skeptics when it comes to online movie and TV streaming services. Mark Cuban is probably the most prominent of traditionalists. (CNET has some background). The new Netflix numbers seem to answer his contention that 'The Future of TV is TV', a remark I've always thought of as pretty short-sighted.
CNET's article continues:
So, how did Netflix do it?
First, delivering digital versions of films over the Web is far cheaper than shipping physical discs. As Netflix users have opted to watch more streaming movies and receive fewer DVDs delivered by mail, the company has been able to trim postage and DVD-acquisition costs. For example, Netflix spent $24 million in the June quarter this year on DVDs, compared with $43 million during the same period last year, according to the company's June earnings report.
To me, it seems clear that the future of viewing both movies and TV is online. Theaters and TV networks will have to adjust to the digital revolution. People simply won't turn on the television at a prescribed time to catch a show, they'll watch it online when they want to. The same applies to movies -- fewer and fewer will go to the theater to see a movie. They'll just catch it online when it's convenient.
This comment catches my eye:
I can't see that being the case much longer. It may not be Netflix the studios find themselves having to deal with in the future but, once theater attendance bottoms out and DVD sales are a thing of the past, it will be one or another of the digital delivery services. And, studios won't just need these services, they'll rely on them to show their movies. There won't be another game in town.
Netflix is expected to have over 20 million subscribers by next year. There are two ways of looking at that. If all 20 million went to any given movie and paid $10 a ticket that would be $200 million -- a nice take at the box office by anyone's standards. On the flip side, if all of them stayed at home and watched a competitor's movie via an online streaming service it would represent a huge box office loss for the other guy.
Monthly subscription rates for Netflix are lower than the price of seeing at least one new movie at the theater every weekend, so, admittedly, the math isn't that simple. But, by the same token, the numbers can't be ignored (much longer). Sooner or later a substantial percentage of those 20 million subscribers (and the subscribers at all the other online movie and television streaming services) will decide to stay home and watch content online.
Of course, this may not ever come to pass. I remember them saying HBO would fail -- why pay for it when it's free on TV. Nobody thought CDs would catch on because the sound quality was bright and brittle compared to the silky sound found on venerable vinyl. Nobody thought DVD sales would ever slow...
Change is a hard thing to adjust to, but the notion that theaters will continue to be the primary venue for watching movies is romantic, even quaint. In a few years the personal computer will be the new exhibitor, a 'theater' chain with convenient locations in almost every home, with no lines, no need to fight traffic or find parking, and no over-priced popcorn which shows movies any time day or night, whenever you want them.
I don't see how Hollywood studios or TV networks can bet against online streaming of content.
Documentary filmmaker Lucy Walker (Devil's Playground, Blindsight) has made films in improbable worlds: Amish teenagers, blind mountaineers, and, with Countdown to Zero, the nuclear arms issue. Walker and former CIA officer Valerie Plame Wilson talk "phishing."
Walker talks about the broad spectrum of people who appear in the film -- from a convicted uranium smuggler to eleven heads of state, the frustrations of dealing with classified situations and subjects, and using her skills as a narrative filmmaker to construct a compelling documentary. Plame Wilson discusses her involvement in the documentary, the aftermath of the Cold War, the startling number of nuclear weapons in the world today and, the Washington Post article that revealed her as a CIA operations officer.
NOTE: Countdown to Zero will screen at the ArcLight Cinemas in Hollywood on July 31 at 5:20 and 7:30, as part of KCRW Presents Zócalo Public Square. All programs are free and open to the public, but seating is limited and reservations are strongly recommended. To RSVP, click on the screening time of your choice.
Comedies should not run longer than 90 minutes. Funny gets tiresome after a while and yawn-inducing after that. Your position in the seat requires constant adjustment, watches require constant checking -- it gets bad.
I just discovered 'Dinner for Schmucks' runs 1:54. The picture already seems to have a grating energy that would be tough to endure for an hour-and-a-half.
The dinner sequence is probably the longest in the movie and features a group of characters whose eccentricities come across as forced and irritating rather than charming or endearing.
Bad dinner parties are particularly embarrassing. The thought of watching 'Dinner for Schmucks' holds about as much appeal as would actually sitting through a real dinner with a collection of zany eager idiots.
It just doesn't strike me as funny. Certainly not for two hours. This movie has seemed like a tough sell from the start. It's long runtime doesn't help.
May I be excused?
Scott Bowles bemoans the state of the comedy:
...lately, comedies simply haven't been that good, says Jeff Bock, analyst for industry tracking firm Exhibitor Relations.
Paul Dergarabedian chimes in with:
Wednesday, July 28, 2010
"Not every screen in this country can show films in 3D and beyond that, it's about market saturation," notes Hollywood.com box office analyst Paul Dergarabedian. "Do people get burned out on it? Is it too much 3D?"
In fact, 3D films have seen their opening week box office numbers decline as a percentage of their overall ticket sales.
"Avatar" set the standard with 71 percent of its tickets for the 3D version, but more recently "Toy Story 3" saw 60 percent, "The Last Airbender" 56 percent and another box office hit "Despicable Me" sold just 45 percent of its tickets in 3D.
This from The Telegraph a few days ago:
...with up to $7.50 (£5) extra being charged per ticket - there are signs that 3D may not, after all, be the panacea for falling ticket sales.
The proportion of cinema-goers who opt to see new films in their 3D versions has fallen steadily over recent months, with more opting instead to watch them in the traditional - and cheaper - format.
Way back in March Dergarabedian said:
The story is still being written, but looks like Dergarabedian may have been right -- or -- the decline in ticket sales could be in response to the increased price and recent films with technically poor 3D rendition, like 'Clash of the Titans'. People paid (way) more, got headaches from watching a bad picture, and felt burned. So, they opted for traditional 2D next time out.
The next generation of 3D flicks, like 'Thor' and 'Captain America', could feature the best 3D imagery yet and might get audiences fired up again, willing to pay extra for the premium experience.
I'm encouraged by this entry at Hero Complex:
Thor" will be the first Marvel film in 3-D. The second will be "Captain America: The First Avenger" due July 22, 2011. The director of that film, Joe Johnston, has experience with stories of the fantastic (his credits include "Jurassic Park 3" and "The Wolfman"), but he said he was also skeptical of 3-D after seeing some recent films make missteps.
"I think it tends to be overused and can be a little bit gimmicky," said Johnston, who began shooting last week in London but will travel to San Diego for Marvel's Comic-Con panel. "A lot of people are using 3-D now because they feel have they have to ... that will come and go and the pictures that deserve to be in 3-D will continue to be. When it's done bad, it can make you carsick."
...He said he's a firm believer, though, in the conversion approach if done right and he's enthused to move forward. "It's a new challenge and it's exciting," Johnston said.
Tuesday, July 27, 2010
As I wandered alone through the upper structure, I realised how the different levels would allow me to reveal the hunter, Jack Carter (Michael Caine), and the hunted, Cliff Brumby, simultaneously but without either being aware of the other – thereby increasing the suspense. When they eventually collide on one of the cement spiral stairwells, the method of Brumby's demise quickly became obvious.
In regard to the violence in 'Get Carter', where his character, Jack Carter, is depicted throwing a person to his death from the Gateshead car park, Michael Caine says:
So when you see Carter, the violence is absolutely out of the blue, and very realistic. And the bit where I throw the guy off the parking garage and he lands on a car below, killing a family inside it, that’s because I thought ‘Well they always land on the ground, don’t they? What if he landed on a car with some women and children in it, and they get harmed as well?”
I have a philosophy in life and that is once you make a mistake, it will spread. This falls over, that falls over onto that, that catches fire and then the hotel burns down.
Here's a promo image for 'Super', directed by James Gunn, starring Rainn Wilson as Crimson Bolt. IMDb lists the synopsis as:
Very been there done that, but here's hoping.
At Slate, Jan Swafford, who knows a bit about the subject, on biopics about musicians and balancing the truth with entertainment in a movie like 'Coco and Igor':
Leading man Mads Mikkelsen has studied photos of Stravinsky in that period and he nails the look. In those days Stravinsky had an unhandsome but chiseled, fiercely self-contained face. He didn't look like the Romantic idea of a composer; he looked like a Brancusi. In the movie Stravinsky plays a period Steinway, and his playing has a curt, percussive quality that is exactly right. (Mikkelsen is probably faking the playing, but it's actually hard to tell.) The movie implies Stravinsky's heavy drinking started with Chanel's rejection. Although, as a Russian artist, he was probably devoted to the sauce all along and drank as if every night were the eve of Prohibition, I'd call that acceptable dramatic license.
On Stravinsky's assessment of his ability to compose:
"It's as if I open a door and the music is there." Stravinsky was virtually in awe of his own gift. He didn't know where it came from. Neither did Mozart. Both made the default guess, which was God. I don't know whether Stravinsky said that line about the door, but he did say this: "I am the vessel through which Le sacre du printemps passed." And, as in the movie, he probably kept a cross on his desk.
At MonkeySee, Glen Weldon on 'Scott Pilgrim vs. The World':
Michael Cera’s casting was greeted in some circles with surprise. To many (okay, fine: to me), his delicate, stammery presence didn’t jibe with the heedless and willful Scott of the books. And to be blunt, this performance doesn’t move Cera the actor outside of his comfort zone too often.
But it does make him a Scott Pilgrim you care about. In place of the books’ cartoony saucer-eyes and Cheshire-cat grin, we get a Scott who’s slightly frail, even occasionally plaintive — which just makes his freewheeling, kinetic deftness at butt-kicking all the more satisfying.
All that said? I’m still worried.
Monday, July 26, 2010
Poster for 'Never Let Me Go', based on the novel of the same name by Kazuo Ishiguro, which was a runner up for the Booker Prize in 2005 and named Best Novel of the Decade by Time.
The movie has already gotten excellent comments. David Gritten said on his blog:
It’s disappointing to see various British publications toeing the US line, insisting the new Spider-Man, 26-year-old British actor Andrew Garfield, is “little-known”.
No, he isn’t. Garfield won a Bafta for his terrific portrayal of an ex-con in Boy A. In his first Hollywood film, Lions for Lambs, he lined up alongside Meryl Streep, Tom Cruise and Robert Redford. And in the scorching television drama Red Riding, he justifiably won rave reviews as a cocky young journalist.
It’ll soon be a moot point, anyhow. I was lucky enough to see an early screening of the British-made film Never Let Me Go, in which he’s heartbreaking as a young man with a short life expectancy. He’s as brilliant as his co-stars Carey Mulligan and Keira Knightley. By the time Spider-Man 4 arrives in July 2012, no one will be calling him “little-known”.
The Daily Mail said, "Never Let Me Go is the most haunting film about love and death I've ever seen."
Today, over at Gold Derby, Elena Howe asks:
The plot is pretty dark -- there's a lot of potential for a very moving story here.
'Never Let Me Go' arrives this fall. Directed by Mark Romanek, the movie stars Keira Knightley, the little known Andrew Garfield, and Carey Mulligan.
A scant two weeks have passed since 'Inception' opened. In that time, and before that time, there has been a wild conflagration of commentary. Dizzy swooning proclaiming the movie is pure genius was quickly followed by indignant back-biting mostly concerned with, not whether an opinion was right or wrong, but whether one or another person with an opinion about 'Inception' was an idiot or hit the nail on the head or was out of line for having an opinion or should be ignored (or imprisoned) for voicing their opinion.
Most of this transpired before 'Inception' played even once for the public, and has continued enthusiastically since its debut.
A.O. Scott has compiled what amounts to a brief history of the rollout of 'Inception':
The next stage involved a series of commentaries reflecting on these earlier phases, and wondering what it all said about the state of criticism in (oh, my) the age of the Internet. The rage of the movie’s defenders was a particular cause of dismay, since their intemperate howling seemed to attack the very basis of civilized discussion and to impart a personal, emotional tone to the whole debate. How dare you not like what I like? How dare you cast doubt on my reasons for liking it? Shut up and let me watch the movie — which I am sure I will love even though I haven’t seen it yet!
I was astounded at all this. Not so much the gushing about how good the movie is/was before it opened, but by the response to the second wave of less than stellar reviews. It was beyond uncivilized, (even for the internet where, often, civilized discourse is not a priority). Scott sums up the tone nicely -- it was very much 'how dare you not like what I like'.
Yes. Many of those who were drooling in anticipation of seeing 'Inception' cried foul when some critics had the temerity to point out that, (in their opinion), the movie contained flaws. 'Inception' has been determined to be super-awesome! DO NOT suggest it isn't, you idiot!'
It was as if voicing the notion that 'Inception' was something less than a masterpiece was reason enough to suffer that most dreaded of punishments: having your internet connection shut off.
I know there is a lot of juvenile behavior online, both from obscure bloggers and major players, but the 'Inception' rock fight was a thing to behold. It was transcendental. 'Juvenile' behavior was tossed out the window in favor of furious, hate-filled, embittered, almost mindless indignation. The response could well have been classified as 'reptilian'. Insults were hurled. Righteous anger trumpeted. Bloggers were spitting mad, frothing at the mouth. I wondered how many keyboards were pounded to pieces during the composition of diatribes against those who dared to suggest 'Inception' was not a singular gem among cinematic accomplishments.
Since when are opinions about movies cause for riots? Why were we warned that early positive buzz about 'Inception' might be something to be concerned about? What's happened to us?
Do we respond so passionately to the assessments of others because, due to the democratizing effect of the internet, opinions -- everybody's opinions -- are perceived to be valid due to the simple fact they are posted online (as are ours, which we know to be valid) and, therefore, are a direct threat against us if they represent a way of thinking which differs from our own?
Have we become part of a grand Pavlovian experiment? Are there researchers somewhere who monitor us and giggle at our silly and quick knee-jerk reactions and indignant eye-twitchings when we read an opinion which differs from our own?
It's just a movie. Could be a masterpiece of historic significance, could be a fun summertime popcorn thriller. Depends who you ask -- and whether you care to listen.
If 'Inception' becomes legendary, it will probably be for the passionate praise, and the fanatic insipid insults for those who failed to praise, that served as a prelude to its opening.
Now, thankfully, the debate is about the meaning of 'Inception' rather than whether the movie is great or not. But, while the cross-fire is less heated, it's also a bit more superficial. Does the movie have a twist ending? What effect does the last few seconds of 'Inception' have on what preceded? Does this change the way I should live my life? (Should I believe what you have to say on the matter)? Are you conspiring against me? Are you an idiot for having an opinion, or an idiot for not having one? Is your response a trick?
The meaning? I have to agree with Scott's observation -- such pondering shrewdly invites a second viewing, possibly a third. Certainly, should the meaning of the movie be fully appreciated, the DVD must be rented or purchased. Then, when it becomes available, at a small additional cost, the director's cut must be viewed.
The meaning of 'Inception'? Are you kidding me? It's a movie. Or...is it?
Perhaps we have become part of a Pavlovian experiment. But, in this case, it's not researchers conducting scientific work who are pulling the strings, it's Hollywood marketers, and the chiming of bells we hear is the ringing of box office cash registers across the land.
It's as if 'Inception' has hypnotized us, caused us to argue wildly and call each other names without regard to how silly we look and, during the heated exchanges, a master thief has picked our pockets of moneys spent on tickets to see the 'Inception' repeatedly so that we know exactly what we are arguing about, and, on his way out, made off with our dignity, our respect for others, and our sense of what really matters for use at a later time.
You can wake up now, and when you do you won't remember what you have just read. And, if you do remember it you won't be able to understand it, no matter how hard you try.
Perhaps, you'd care to wipe the drool off your chin. I'll put dinner on the table.
Sunday, July 25, 2010
Looking forward to this and 'Battle: Los Angeles'. (image below)
Coming out of SDCC, this is the first image of Daniel Craig from 'Cowboys & Aliens' directed by Jon Favreau.
Not what I had hoped for. I'm wondering what kind of response this got. Just seems wrong -- in a way that's hard to articulate. I guess Craig just doesn't look that 'cowboyish', and, I'm sorry, but that hat does not fit.
Also, is that really the aspect ratio? Ooph -- should be wider. I suppose Favreau wanted that old-timey westerns look from the 40s and 50s before super-wide ratios were the in thing and a lot of the genre only appeared on TV. But, for a popcorn flick this is too square a frame.
I shouldn't complain -- just assumed I'd be blown away. Still. Should be good. Waiting for more.
NYT looks at the confusing slew of online movie delivery platforms:
On May 10 came word of i-Trailers, a new company devoted to movie advertising on the Web and mobile devices. On May 11, Diva Mobile declared itself the entertainment industry’s "first cross-platform solution for video-on-demand" services. Arriving on May 13 was SulSet.com, a site promising to stream live, behind-the-scenes video from movie sets for a one-time $9.99 fee.
And the frenzy has continued. Just last Tuesday came Xumanii.com, which said it was "revolutionizing the way in which live entertainment and social networking come together."
All I really want is to get my movies not at the theater, not on DVD, but online, on-demand, streaming, and in HD. Whoever gets there first should score big.
This LAT piece about Dean Zanuck (Darryl's grandson) producing 'Get Low' mentions it's based on a (really) true story. The poster's tag is 'A true tall tale' but I thought that was just schtick. Turns out the events in the movie actually happened.
About the script's genesis, Zanuck says:
A Google search resulted in this interesting article from ECLA pastors, which starts:
Uncle Bush is played by Robert Duvall. The article continues:
"When Mr. Robinson told this story I thought it would be a really good movie," said Seeke, pastor of The River Church, Alpharetta, Ga., an ELCA congregation. "I called a buddy from college who was a Hollywood writer. He liked the idea. We worked on it together."
IMDb lists 'Get Low' as being based on a story by Chris Provenzano and Scott Seeke, the reverend in the ECLA Pastors article. Beth Birkholz's great-grandfather, Frank Quinn, is played by Bill Murray. The driver, Buddy Robinson is played by Lucas Black. The buddy from college reverend Seeke called is Chris Provenzano.
Scott Seeke tells his version of how the idea for the movie came about at his blog:
The ECLA article links to the Tennessee State Library archive which has the above photo of Felix Breazeale at his 1938 funeral, which he attended while still alive. Bush died in 1945.
'Get Low' is expected in theaters December 26.
Friday, July 23, 2010
Thursday, July 22, 2010
This hook, in reference to 'The Sorcerer's Apprentice', got me on board:
Nicely turned. Stevens' assessment of Cage's eclectic career is spiked with well-cut insights. I especially like this observation:
As Anne Thompson recently said of Cage, "...he never phones it in, no matter how bad the movie." I'd have to agree.
Neither did Vincent Price, even in the unabashedly hammed-up horror flicks in which he played a crazed and zany Dr. Phibes. Despite the demented B-movie villainy, Price instills the mad doctor with a sincerity, a humanity that transcends schlock, and you can't help being sympathetic for the guy. Price was always connected to the material -- you never felt cheated.
Like Price, Nicolas Cage always delivers his heartfelt best, utilizing a breezy virtuosity, even when he chooses to ply his craft in pure cheese-fests. You can't help but admire the guy for that.
Talk of the Nation with Hans Zimmer, the film composer for 'Inception', 'The Dark Knight', 'Crimson Tide', 'Thelma & Louise', and others.
CONAN: And you've done, well, well over 100 movies. Does it ever - do you ever say, oh, my gosh, I can't figure out how to approach this one?
Mr. ZIMMER: Every single one. I mean, unfortunately, I think the demons are basically always there and it always starts with the blank page, and that doesn't seem to get any better. You know, on "Inception" - well, it's an easy story of - it's a heist movie with a profound love story and somewhere it all takes place in dreams, and where do we start. I mean, there are sort - but at the same time, that's what makes life exciting. It makes it interesting.
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- 'Alien' in Blu-Ray
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