It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
…glad to see that “Zohan” exceeded my lower-case expectations.
I really love this movie, and hope that it (at least) matches the cume of “Chuck and Larry.”
The only surprise about “Panda” is just how BIG it was. Hitting $200-million prior to the opening of “Wall-E” in three weeks should be do-able. Again: very, very nice.
That was an excellent limited bow for “Mongol.” Will it be able to do as well for the defunct Picturehouse as “La Vie en Rose” did last summer? Or will the action elements actually help it to do even better? As a lame duck distributer, does Picturehouse even have the marketing muscle to try and move this beyond urban arthouses? I guess that’s the bigger question.
Decent opening for the Argento movie; a surprisingly soft launch for Anand Tucker’s critically lauded “Father;” and an expectedly tepid bow for “The Promotion” (despite generally strong notices).
I guess the distrib’s lack of confidence was apparent in the
movie’s blah print ads which practically scream, “Don’t come see our movie!”
Once again, Deadline Hollywood and Fantasy Moguls were the first to report the Friday numbers, and once again they were off by a decent margin. At least Finke corrected herself in the morning, after posting super-early Friday evening estimates. I’d rather be right than first, but that’s just me.
As for Indy, it’s still running neck and neck with Pirates 3, which did cross $309 million. And besides, it’s killing overseas (it just crossed the $500 million mark yesterday). $320 million is out of the question, but I’d guess that Paramount is willing to keep Indy in theaters as long as possible so that they can boast two $300 million titans for the summer. Granted, considering ownership issues, it might not be in their best interest to do favors for either of these pictures.
There was a lot of sense last year that Spider-Man 3 won the summer domestically because it was first. That said, Iron Man was not expected to be competitive with Indy the way Pirates 3 and Spidey 3 were. (Pirates was #3 domestic and #1 worldwide by about $70m.)
There’s no real incentive for Par to limit either film, as they aren’t paying that added P&A. They don’t have June movies (other than Panda, which is launched) to give up screens for.
Indy won’t make it to 300 domestic. Most people have seen it, and others (like my parents and some friends who don’t drink the opening-day-must-see kool-aid crap) will not see it b/c I’ve told them how awful it is. If Indy wasnt called Indy it would have been a perfect vehicle for the return of Richard Chamberlain as ALAN QUARTERMAINE, for gods sake. Luckily for them the movie business has brainwashed everyone into seeing their garbage on opening weekend, if not lots of records would still be intact.
ALSO, was The Promotion once called Quebec? I read that a while back, same writer. Pretty off-beat script, though definitely one-note.
“As for Indy, it’s still running neck and neck with Pirates 3, which did cross $309 million.”
—
Yeah, it’s following that pattern pretty much perfectly. I see no reason to expect it to change much from this point on.
Of course, DP was also saying just a few weeks ago that the box office performances of X2 and SPIDER-MAN 3 suggested that IRON MAN would settle into a final total of around $260 million… then a week later the same comparison suggest $270 million. The next weekend IRON MA had already made $258, and he just stopped predicting its final tally.
I am shocked that Iron Man will beat Indy this summer. I called out IO when he and others were floating around 300 million domestic. They were right and I was wrong. I’m not a fan of the movie but I can see why people love it.
Indy on the other hand is hard to swallow. I watched one of the first 3 Indy films every night for the last month leading up to the release. I couldn’t have been more disappointed with Indy 4. Harrison, George, and Steven can not honestly say they waited 19 years to film that shit script. And this is coming from someone who loved the prequels.
Bart Smith beat me to the punch. Poland is shortchanging the Paramount releases this summer, and I wonder if he understands how saying something like Indiana Jones not making $300 million impacts his credibility. Admittedly, he has been moving away from his Box Office predictions and focusing on other areas, but I see he is either taking chances here, or just not paying attention.
What do you want me to do, Bart?
I was wrong about the number. I was wrong about the Transformers number last summer. It happens. I expect it to happen. I was more wrong about Caspian than about either of those. Funny how that isn’t made an issue. (Of course, Joe is still waiting for the “21” re-release, so he can fly that flag again.)
I live and work in a world of people who are guessing at this stuff every day, from the top of the studios to the guys at the deli counter.
I have no idea exactly where Iron Man or Indy or Sex & The City will end this summer. I can guess and so can you… but it’s a guess, especially when we are talking about estimated differences of 10% of dom gross or less.
You know, even after Wedding Crashers opened and was weeks in, no one at New Line really thought it would do $200 million. And conversely, almost no one thought a $51 million opening for “8 Mile” meant a $117m domestic gross.
If you look at the worst opening to total ratios, it’s almost all geek films and films with massive opening weekends. Just the way it tends to be. And that “first weekend of summer” movie rarely hangs on like this. Iron Man is, as it turns out, playing like a child of Spider-Man. And that is very unusual.
And Tofu, how am I shortchanging Paramount this summer? I have predicted Indiana Jones as #1 from the start… and right now, they are a long way from $300 million domestic. I don’t think June is terribly strong, but there are a lot of pictures in the way and keeping screens will be hard.
Is $390m that much different from $290m that it is “not paying attention” to suggest that Indy – which is a couple of million behind Pirates 3 and has been behind P3 on the majority of the day-to-day comparisons so far – might not get there?
Anytime anyone projects any box office is “taking chances.” And maybe Indy makes $300m, but is behind Iron Man. And you know what… maybe it still beats Iron Man. I have already written that it will beat Iron Man by a significant margin worldwide. And it will.
On my last box office chart, I had the 3 Par films in the Top 7.
So what exactly do you want?
Do you want me not to explain what gross numbers actually mean… since they are an illusion in describing how Paramount has done as a studio this summer?
Do you really expect me to be right about every box office guess I make? Do you think someone else is?
Sorry… I just get aggravated when everything becomes a conspiracy. Of course, it only happens when I wrong about something others feel strongly about. So it’s not so bad.
Scott Mendleson,
Agree with you about preferring to be right rather than first, because as a journalist lecturer once told me… “If you’re after a scoop and you’re first and then you’re wrong, you’re not first. You’re an ass.”
Ah, but the problem these days, Pope, is that no one seems to feel that way. Getting stories right by correction – or overwriting – is becoming more and more the norm.
“Mongol” likely will stay limited, movieman. “Kit Kittredge: An American Girl” is also from Picturehouse and will go wide for 4th of July.
I actually think that “Mongol” has a better chance of breaking out at the ‘plexes than “Kit Kittredge,” Chucky.
Hopefully Picturehouse won’t blow all of their remaining shekels pimping the G-rated “Kit” (which looks like a frigging train wreck waiting to happen).
It would be nice if there were at least a few bucks left in the P/H coffers to at least test the ‘Mongol” ‘plex waters later this summer.
DP, I guarantee that other writers don’t get the same “Why were you so wrong!?” treatment that you do on these matters.
People take me very personally, J-Mc.
But for me, it’s very rarely personal. It’s almost always just business and earnest, reported, educated analysis.
But I am completely capable of being wrong. It’s no surprise to me.
I try to “show my work,” like a math problem, so the discussion can be had. I am interested in other ideas and perspectives. That’s why I am on the web.
Too often it digresses into a dick measuring game, which I won’t participate in. I will defend myself… and sometimes I get too defensive and strident. I don’t mind being wrong. I do mind having my ideas misrepresented.
I think it’s more about tone.
People still hating on Indy. Good lord. I would be more vicious but I am happy with the film because apparently I got the whole “MARION RAVENWOOD IMPORTANT” thing from back in the 80s. Nevertheless; it will make the 300. It will just hang around long enough to make the needed cash.
Oh yeah… now it’s between Wall-E and the Bat to take down Tony. If anything comes closed. I will call “SHENANIGANS” on myself.
The movie’s barely about Marion. She has what, two significant scenes and the rest of the time she’s just running with everybody else?
And I say this as someone who liked it.
HAHA! If the movie’s barely about Marion, why call attention to her character and cast her? If you’re going to wait 19 years for a movie, and cast the lead actress who was an integral part of the first film, and then give her only “2 significant scenes” (i counted NONE) — then you have no idea what you’re doing. Sure, you know how to trick me and get my 12 bucks, but guess what — it goes a long way to proving your movie was hollow. Bringing Marion back and not using her demonstrates how you second-guessed your watered-down script to death, and not being able to figure out a way to make her important proves how anemic your entire film, not to mention your creativity, is.
That’s the thing you two: SHE WAS THERE. She was there, and that’s the important part of it. Again, the Indy hate fucking bugs the shit out of me, but I am not the one carrying hate. So it’s all good.
God, they should just put Marion in every movie. It’s not about quality, it’s about whether or not Marion Ravenwood shows up. You are easy to impress, IO.
Iron Man is playing like a child of Spider-Man because it’s made with love by a fan of the comic book who happens to know his way around a camera.
Iron Man: from the director of Elf and Zathura.
Marion Ravenwood may only have a couple of significant scenes in KOTCS, but her very presence is nevertheless crucial to the movie, in completing the journey that Indy takes throughout the flick. Essentially it’s Marion, not the skull, that is the Macguffin, the equivalent of the Ark or the Grail here. Consider that at the start of the movie, Indy is at the lowest ebb possible. He has lost his Father and his best friend, has lost his job, and been betrayed by his closest associate. He’s come under the scrutiny of the Federal Government. When he boards that train, we see the great Indiana Jones, one of the movies’ most legendary heroes, essentially GIVING UP. It’s only through the process of connecting with Mutt and re-connecting with Marion, that he is able to complete his journey and become the Indiana Jones we know and love again. The final beat of the film, involving the hat, is NOT, as many have implied, a hint of a spin-off franchise with Shia to come , but a reaffimation, with the famous hat proudly back on the head of it’s rightful owner, that Indy has reclaimed his identity and found what he was searching for. Crystal Skull is flawed, yes, but in years to come, when it ceases to be ‘the new Indiana Jones movie’ and becomes one of a box set of four, it’ll stack up pretty well with the others.
Dr. Wally brought the noise. Great, great post.
That closing beat is one for the books. This movie is going to age well, after the same repeated viewings the others have gotten on television. What’s amazing to me is how many people have talking about what was in the originals that was never actually there or that they’ve invented something that was there. It’s like when people asked why King Kong fought dinosaurs in 2005.
Agreed – great summation, Dr. Wally. For me, the key to the movie is that heartbreaking line from Broadbent: “It seems you’ve reached the age where life stops giving you things and starts taking them away.”
Of course, at this point Indy really has nothing (all of the stuff he has found over the years didn’t amount to much, hence the scene of the smashed Arc in the warehouse). And during the film he realizes that life still has much to offer him if he’s willing to accept it (unlike years earlier, when he ran away from Marion for Seinfeld-ian reasons). In essence, Indiana Jones finally stops and smells the proverbial roses. He finally realizes that ‘a career is not your life, but rather a way to make your life better’ (I don’t know who originally said that, but it wasn’t me). His reward is being able to spend his twilight years giving love and being loved in return, and having people to share in his adventures. At the end, Henry Jones Sr is allegedly laughing because his son didn’t repeat the mistake that he made.
It’s not a perfect film, but there is an undercurrent of melancholy that makes the overly happy ending feel completely earned.
In regards to the final scene, I loved how Spielberg played with and then mocked our expectations. As Mutt picked up the hat, pretty much everyone in the audience was dreading the likely outcome. So of course, when Indy steals his hat back at the last moment, the entire audience let out a hearty chuckle and a sigh of relief. That’s one of many little touches that makes this film better than the usual summer action spectacle.
One difference here, the two times I saw it, the crowd sort of not quite gasped but let out a “Ah” as he picked up the hat, with that drum beat tease kicking up and then Indy came into frame. That destiny is calling feeling really had people.
I think there’s a general like for this film that the internet crowd is in disconnect with for the most part. It’s going to crack $300 million. It’s probably going to be at $255 million by weekend’s end because it has proven to be very good so far for the weekend matinee crowd. If it pulls about 10-12 million next weekend, you’re looking alright for right around that number.
What do you want me to do, Bart?
I was wrong about the number.
—
I can’t fault someone for being wrong about a prediction. Anytime you try to guess the future, you’re dealing with an exact science.
Once you’ve got more than 14 days of data, it stops being about making guess from tracking reports and more about constructing a model to fit that data to. My issue is in how you took the past performance of similar movies to determine a pattern for IRON MAN and were inaccurate in using that math.
Several times you mentioned that the performance of SPIDER-MAN 3 and X2 suggested a certain number as a final figure for IRON MAN. But there wasn’t anything in the math that did suggest that. IRON MAN has continued to follow those trends from week to week, and that’s putting it at a final domestic gross that was significantly off the figure that you threw out there.
And it’s waaaaay off what you initially predicted, but that’s forgivable.
“It’s not a perfect film, but there is an undercurrent of melancholy that makes the overly happy ending feel completely earned.”
I didn’t taste the melancholy on this one. For something like that, I’d say to go look at Clerks 2 or Lethal Weapon 4. There were some wistful touches early on, like the photos of Denholm Elliot’s and Sean Connery’s characters, but I didn’t see a connection get made well to Indiana himself; and the rest of the movie didn’t have much to say about the situation of being an over the hill action hero whose life is being swept aside by cold warriors, youth culture, and plain old modernization. The danger of the jungles he haunted all those years was turning from hostile tribe members to rebel guerrillas; from the exotic and mysterious to the political and genocidal.
For the last shot at this series, it’s disappointing that the script wasn’t able to better tap into this “end of an era” situation Jones would have found himself living. I think that would’ve made a much stronger backdrop to a film than just repainted stock Nazi characters in greys and called them communists.
Yeah, you really blew it on 21, David. Maybe if you had a son who’s a wanna-be professional poker player — whose twentysomething buddies think going to Vegas and making a killing is one hell of a lot more interetsing than a flashy kid movie based on a decades-old TV cartoon — you, too, would have known 21 would inevitably draw bigger crowds than Speed Racer.
Easily impressed Roth? Nah. I just got something that you did — and many others — did not get out of the film. Much dap to Dr. Wally for explaining it to lot of you… who did not get it.
Hallick: uh the nazis and the Stalinist had a different idea about the occult. So they were not repaints. I simply see your responses and others as a shadow or a cypher that refuses to see that two friends made a movie about a character they both shared, finding love, and getting his swagger back in the end of his life. That’s a lot more amazing shot to end the series on then riding off into the sunset.
Joe, maybe DP blew it on his box office prediction for 21, but that still doesn’t make it a good movie.
Does anybody win a prize for predicting within millions how much any of these films will make?
And 21 is for 20somethings and SPEED RACER is for…drum roll…LITTLE KIDS!
The critics seem really upset that SR wasn’t made with a lot of useless pop-cultural riffs to keep their inner cynic busy.
Christian: that was pretty damn impressive.
David, I am in no way trying to paint that there is a conspiracy going on here. It IS just a coincidence that you are undercutting two Paramount releases. Yes, your initial summer predictions gave Indiana Jones the top spot, but now you say it will not reach $300 million. It (in estimates) made more in it’s third weekend than Pirates 3. Saying it will not make $300 million is a very drastic point to just state as fact.
You may be reading too much into Dave’s commentary here. Honestly, he just gets box office wrong sometimes. He’s never been great at the #’s game. To make it out to be some large evil plan of his to take down movies/studio he doesn’t like is really kind of a paranoid fantasy. Reminder that he called Speed Racer a box office mess a week or two before it came out. He’s calling it as he sees it, for better or worse.
Right on, Scott–Broadbent’s line was a jewel, especially for those of us at or nearing that age (57 in my case). I saw it yesterday from 3rd row center at the Dome and loved almost every moment of it. It’s the highest possible compliment to say it looks like it was made in 1983, and I’m thrilled that Spielberg can leave his baggage behind and still make an unapologetic popcorn movie. Those who hate the movie must have had certain inflated expectations that went unmet, but for me it was just groovy. So there.
Box office predictions aren’t an exact science.
I do pretty well each week on Box Office Mojo’s derby, but I screwed up big time this weekend by underestimating the appeal of “Zohan” which looked like a “Semi-Pro”-style loser. (I’m very pleased that the Sandman performed so well, though: I haven’t laughed as hard at a movie all year.)
And I do think that “Crystal Skull” wil (easily) hit the $300-million mark and be neck-and-neck with “Iron Man” by the time their theatrical runs are finished. (“Wall-E” still looks like the summer champ, though.)
For what it’s worth, Fantasy Mogul is projecting a $60-$65-million opening weekend for the retooled “Hulk” (seeing it tomorrow; big yawn), and a $25-million-max opening for “The Happening” (a rare Tuesday afternoon “press screening”) which-according to them–is tracking disastrously for Fox.
I was really hoping that this would be the movie where M. Night got his mojo back. The 91-minute run time is most welcome, however.
Has anyone seen it yet?
I saw “Zohan” and I’d have to say that it is probably Sandler’s best all-out comedy. It was smart, dumb, utterly silly, and hilarious. Sure, not all the jokes worked, but they usually did. The supporting cast was very good, though I thought the goat jokes from Rob Schneider’s character got old fast. I really think Sandler should’ve dropped him a long time ago. His characters never really add anything to his movies.
$25 mill is not really a bad opening for “The Happening” considering it is budgeted about $60. And considering it tracks a bit older than typical horror fare it will have decent legs. If it does 3x its opening, that’s a modest hit.
….glad you enjoyed “Zohan,” Brack.
While I’ll be the first to admit that Schneider can occasionally be a drag on Sandler’s movies (I actually thought he had one of his best screen roles to date in “Zohan”), you’ve got to admire Sandler’s loyalty to a former SNL colleague.
That sort of thing is increasingly rare in this “every-man-for-himself-and-god-against-all” business.
And “decent legs” (hell, any legs) for “The Happening” will be a real stretch if the movie is as foul as its buzz.
As I said earlier, I’d love to see M. Night bounce back with a hit/good movie, though. I guess I’ll find out on Tuesday.
But you gotta love the 91-minute run time!
Movieman, I really liked “Zohan,” too.
I’m partial to Sandler anyway, but I still think it’s his best movie in years, maybe a decade; Completely sweet and silly, a likeable love interest in Chriqui, fun supporting cast, some nice, outrageous sight gags… even a pretty decent visual style.
You guys are short changing SATC, which is at $99, that’s a great haul!
The Happening is a total disaster.
Zohan is Sandler’s funniest movie since Happy Gilmore. I’m glad it’s doing well.
I’ve been a Sandler fan since Canteen Boy, Lex.
Except for “The Waterboy” (not sure why: it just didn’t do it for me) and “Chuck and Larry” (which I found every bit as cringe-worthy as Dennis Dugan’s “Norman…Is That You?” back in 1976), I’ve liked just about every one of Sandler’s star vehicle- comedies to date.
(I even gave “Little Nicky” a 2 1/2-star review.)
“Zohan” really is–for better or worse, but mostly better–“‘Borat’ Meets ‘Munich.'”
If I was a 12-year-old Jewish kid, I think I’d find the character of Scrappy Coco to be incredibly empowering. And how exciting was it to see a major H’wood movie address racism, sexual/racial identity and Middle Eastern politics in such an entertaining fashion? There was something almost touching about seeing Sandler embrace his ethnicity for the first time onscreen–not counting his 2002 Hanukkah ‘toon, of course.
Very happy to see “S&TC” reach $99-million; but I was really hoping that it would cross the magical $100-mill. threshold this weekend. Oh well; tomorrow for sure then.
Movieman, agreed, and I’d even at that the running gag about Zohan servicing the older patrons, which could’ve been played for cruel laughs, was as good-natured and infectious as the rest; Sure, it’s completely silly, but most of those beats are from the woman’s (delighted) point of view, instead of just turning them into a punchline.
Though the Tomatometer is predictably low, it’s good to see some pretty esteemed critics — Ebert, A.O. Scott, Nick Schaeger, Peter Rainer — giving it its due.
“For what it’s worth, Fantasy Mogul is projecting a $60-$65-million opening weekend for the retooled “Hulk” (seeing it tomorrow; big yawn)”
I was convinced that this was not going to break 50M, but the P&A saturation has been way heavier than I expected. And finally a decent tv spot along with a commercial for the video game that brilliantly uses the CGIness of the movie-Hulk as a way to elevate the game. The commercial message feels like the movie is the story expansion for the game and not vice-versa.
I find it interesting that no one but the director seems to be doing promotional work. Norton, Tyler, Hurt, Roth – not one morning or night talkshow listing. Even Smith appeared on Leno last Friday for the dog of dogs, Hancock.
Actually, Tyler is doing Hulk promo in the new Entertainment Weekly. She’s looking good, BTW.
How about the “Zohan” cameos, Lex?
The Mariah sighting was a predictable hoot, but I got even more of a kick out of seeing Larry David’s dad and George Costanza’s mom play Zohan’s folks. And Mrs. Garrett from “The Facts of Life” as one of Scrappy’s satisfied customers. Genius!
I don’t think there’s a genuinely mean bone in this movie’s body (if movies even have bones).
Very, very silly, sure; but it’s almost indescribably sweet as well. And that’s definitely something you couldn’t say about “Borat,” lol.
P.S.= Loved the crack about tapping McCain’s wife because “you know she’s not getting any.”
Haven’t seen it, but Happy Gilmore is the best Sandler movie IMO. Dennis Dugan is kind of a hack but he seems to bring out the best in Sandler.
movieman, I agree it was Schneider’s better characters. what I thought was lame was how the goat joke was handled. for a comedy that was all out crazy with most everything else, we should’ve seen some flashbacks or something with his goat, but we only saw that one scene. him simply talking about his goat just didn’t do it for me. it could’ve been more, like the hummus running gag. still, it’s a minor quibble.
Not only will Indy 4 will pass $300 million within 3 weeks, it will also surpass Iron Man.
Oh and it will play for a long long time to come.
Martin S: I was channel surfing last week and stumbled upon Liv Tyler on Leno. She was quite charming.
movieman: That wasn’t Estelle Harris as Zohan’s mom. It was an actress named Dina Doronne. I really liked the movie, too. Just silly, over-the-top fun, which is sort of amazing considering the subject matter.
Fox has a big push for “The Happening” in and around Philly ’cause that’s Shyamalan’s back yard. Yes, the outdoor ads and TV spots carry a blood-red R in the rating box.
Martin S: P&A for “The Incredible Hulk” must be all TV or nearly all TV. Universal has had that policy for at least 2-3 years.
2nd for movieman: Picturehouse is putting more into “Kit Kittredge” than “Mongol”. I’ve seen banner ads on MovieTickets.com for the early limited release of “Kit”. Product flow will keep “Mongol” in the arthouse ghetto.
The new Hulk video game is fantastic — basically a sequel to the Ultimate Destruction game from a few years back, which was nothing less than the Best Superhero Game Ever. Unfortunately the new one seems a bit rushed (they had a release date to meet, after all), but it definitely improves on the razing-the-city aspect that made UD so great.