May 8, 2024
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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
My regards to Elrod Hendricks, Boog Powell, Mark Belanger, Brooks and Frank Robinson, Don Buford, Merv Rettenmund, Paul Blair, Dave McNally and Mike Cuellar, to name a few
Had to look up Barry Levinson on imdb to see what he’s been doing lately (not much).
I think of him first when it comes to baltimore/movies.
Lenn Sakata, Eddie Murray, Mike Flanagan, Scott McGregor, Cal Ripken, Tippy Martinez, Dennis Martinez, Jim Palmer, Sammy Stewart, Gary Roenicke, John Lowenstein, Steve Stone, Kiko Garcia, John Shelby, Rick Dempsey, Rich Dauer, Doug DeCinces, Al Bumbry, Ken Singleton, Terry Crowley, Lee May, Mike Boddicker, and Storm Davis . . . to name a few more. And, of course, the incomparable Earl Weaver. Indiemarketer pulled out the great late ’60s and early ’70s Orioles teams, while I grew up with the great late ’70s and early ’80s teams. But let us never, ever utter the name Armando Benitez. May his name suffer the oblivion of being blinded by the light of a trillion suns.
One more name from 1983, which I would be remiss not to mention: Tito Landrum. I can still see his 10th innning game 4 blast sailing out of Old Comiskey Park like it was yesterday.
No one’s gonna give a shout-out to Jimmy McNutly or Lester Freamon?
How quickly we forget…
As a New Yorker, how can i forget the classic Colts who were beaten by Joe Willie Namath and the Jets, and then the franchise that left town under cover of night…Johnny Unitas, Earl Morrall, John Mackey, Tom Matte, Lenny Moore, Ray Perkins, Bubba Smith, Rick Volk, Lou Michaels, and Don Shula
OK, I have to ask: is this the first weekend 2 3-D movies will lead the box-office rankings… ever?
Bunk and Stringer Bell and Omar.
Did MGM really screw up with Hot Tub Time Machine? The reviews are actually pretty good and the premise seems like an easy sell. $13 million for the weekend has to be a disappointment. “Kick some past” just didn’t do it for people. Between NCAA basketball and NBC sitcoms I’ve seen a thousand TV spots in the last week. I thought it would get close to $20 million.
Wow; what a dismal opening for “Chloe”!
I still think Sony screwed up by not releasing it through Screen Gems.
With a hard-sell marketing campaign, this could have easily opened to $10-million.
The predictably mixed-at-best reviews (and lukewarm arthouse grosses) will insure that it never crosses over to the ‘plexes where it belongs.
Maybe the target aud for Hot Tub is distracted by the NCAA madness? As for Chloe — I haven’t seen it yet, and may wait until its homevideo release. But I did see the original French film it’s based upon, and I can’t say I was terribly impresed. (It didn’t help that I could see the “surprise twist” coming from a mile off.) Also: Once again, maybe we have a case where a hot young actress is perceived as an audience draw — but she isn’t, not really?
CHLOE RUUUUUUUUUUUUUULES.
Even Julianne Moore and her number-two-pencil length nipples were INCREDIBLE… Obviously Seyfried is the sell for me here, but I like Egoyan plus NINA DOBREV IN HER UNDIES (YEP)… But Moore absolutely KILLED IT in this, just a great performance and reminds you of how powerful she can be (Boogie Nights, Short Cuts, Safe) when she’s not being embarrassingly mannered (Cookie’s Fortune, Magnolia.)
Neeson also cracked me up, flirting with every coed and waitress in sight with smarmy glee… even the douchey kid wasn’t bad.
SEYFRIED POWER goes ENTIRELY without saying, though was sort of wondering if she said, “Okay, I’ll appear naked throughout, but ONLY from the one very same side-boob angle every time.”
Hardly a work of art and, yes, pretty mainstreamish for Egoyan; Probably would evaporate from memory instantly without the raunch and the great acting, but fun pulp.
Sort of amused that the upscale crowd took it so seriously and respectfully… It really ISN’T that much different (or classier) than a “Single White Female” or “Hand That Rocked the Cradle” or “Obsessed.”
‘and justice for all’ is my favourite balitmore movie, i dig that
Also: EDDIE MURRAY REFERENCE ABOVE = awesome.
Best ’70s-early ’80s uniforms EVER– yes, even better than the Pirates, Padres, Astros, and Athletics. Eh, okay, the A’s shade of GREEN and yellow was pretty godly too.
Anyone remember when the Sox wore SHORTS for a season? BAD IDEA.
IS there an official historical reason why everyone retreated to such boring, interchangable colors later in the 1980s? Being a little kid in the late ’70s was great, watching baseball and all the players being mop-topped or mega-‘froed AND warlrus-stached with sideburns right out of Hitchcock’s FRENZY, *and* wearing those gaudy bold colors, gave the game such personality, made every player and every team so distinctive.
Leah, And Justice for All IS great…
But terrible, TERRIBLE theme song:
http://www.youtube.com/watch?v=BkBA_nBn5Cs
LexG, get yer weener out yer ass and listen good.
“Chloe” looks like it was dumped. A lot of cities and megaplexes opened it day-and-date with NYC. Who’s releasing it? Sony Pictures Classics. If the opening is as bad as feared Sony corporate needs to get rid of SPC’s promotion staff and fold SPC distribution into Screen Gems-Columbia.
As for the other movies? Theater chains raised ticket prices this weekend. That story got significant coverage and people might be staying away as a result.
christ, i don’t remember that at all, that’s hilarious (sounds like something from ‘makin’ it’, is naughton singing that?!)
(oh, my comment above was re: lex’s link, not chucky’s OCD cinema twitch)
Lex’s OBSESSED comment is dead-on. If NATHALIE…(original CHLOE) were to be remade again with an upscale black couple and white hooker (i.e. a DEATH AT A FUNERAL-style remake), I bet that would draw in more money.
Now that “Bounty Hunter” is 2 mil ahead of Wimpy Kid and rising I wonder if Finke feels dumb? Nope.
@leahnz: That “OCD cinema twitch” you speak of is the facts, fair and balanced.
Yeah with their key demo wrapped up in NCAA hoops all weekend March 26 was probably not a great release date for Hot Tub.
Slightly surprised at the Hot Tub number. It was sold out (Toronto Scotiabank) when I went to see Repo Men last night. Maybe MGM forgot to market to the Mid West? It’s pretty cheap, though, so it should still turn a profit.
In other news, Repo Men, despite some high points, might be riddled with problems for most of its running time, but the last 20 minutes are so insane, it’s hard to say it’s not worth my $12.50.
Who tracks the trackers?
whatever you say chucky, you are THE FOX NEWS of above-ground-swimming-pool cinema badasses. please don’t bust a cap in my ass and bury me in the crawlspace under your house in jersey
I saw The Room again last night. Incredible as always. Next time I must take roses and a beach ball.
It really ISN’T that much different (or classier) than a “Single White Female” or “Hand That Rocked the Cradle” or “Obsessed.
Correct, Lex. I said the same thing on here months ago when I heard (somewhat incredulously) that Sony had decided to release “Chloe” through their boutique arthouse division rather than via exploitation division Screen Gems.
I’m surprised that you didn’t enjoy “Nathalie,” Joe. It’s easily my favorite of Anne Fontaine’s movies to date, and the scrumptious cast (Depardieu, Ardant, Beart) beats even Egoyan’s yummy trio.
Did you just call Gerard Depardieu “scrumptious”?
I love Exotica and The Sweet Hereafter is in my top 10. Egoyan has a lifetime pass as far as I’m concerned. I am always eager to check out his latest offering. I am looking forward to seeing Chloe. Even if it’s flawed and eventually far-fetched (as most reviews suggest), it’s got a great cast and sometimes an R-rated drama is just what the doctor ordered.
Kam – can I count on you to sign my petition? http://www.petitionspot.com/petitions/tommy4twilight/
I’m going to THE ROOM tonight with a sign advocating for said cause. Tommy will be there.
I guess I did, lol.
You can’t deny that the “Nathalie” leads are acting royalty: the creme de la creme of post-New Wave French cinema.
And–pace Stella’s Boy re: Egoyan–Depardieu gets a lifetime pass from me for early masterpieces like “Going Places,” “The Last Woman” and “1900.” (It was a real kick seeing him reunited with his “Woman Next Door” costar Ardant in “Nathalie:” this time playing his wife instead of his adulterous lover.)
Depardieu is France’s Robert DeNiro. The only difference is that, unlike DeNiro, Depardieu is still doing consistently strong work in interesting films by auteur-type directors instead of lazy paycheck gigs
Actually, I much preferred the Depardieu-Ardant reunion in Colonel Chabert (1994).
movieman: Sony Pictures Worldwide Acquisitions Group would give CHLOE to Screen Gems if they could, but my guess is that Screen Gems just passed on “Chloe”.
Sony Pictures Worldwide Acquisitions Group can’t force Screen Gems to release anything. (Unlike Fox, which can force Fox Searchlight to release MISS MARCH and POST GRAD)
LYT: OBSESSED is a PG-13 film. If NATHALIE…was to be remade as a PG-13 thriller, then the remake film would indeed make more money.
Chucky in Jersey: SPC just do what other distributors would do when they know that their specialty films would get attacked by many critics, like what Warner Independent did with FUNNY GAMES and what Fox Searchlight did with FAST FOOD NATION and CHOKE.
For the release pattern it has, CHLOE actually performs okay (not great, but okay), especially considering that Sony Pictures Worldwide Acquisitions Group only paid ‘low-seven-figure’ to acquire the film.
It would be terrible if Sony corporate folds SPC distribution into Screen Gems-Columbia. Specialty films require different distribution functions then mainstream films. Otherwise, Warner Bros would not decide to let Sony Pictures Classics release COCO BEFORE CHANEL and MICMACS.
By the way, SPC does open CHLOE in many chain-operated theaters.
Watched both Chloe and Repo Men this weekend. Mixed on both. I know Egoyan is going for something more than an erotic thriller. But he ends up making something that’s not very sexy or thrilling. Kind of a bore. I get the psychology of these characters, but it reminds me on In The Cut directed by Jane Campion at times, another movie that wanted to be more than an erotic thriller, and ended up nowhere.
Not sure what’s the goal of Repo Men, a satire, a comedy, a warning fable, an action movie. The story is there, but man half of the picture is a mess. Forest Whitaker looked so uncomfortable in the role. The ending works, I will give them that, but it’s basically taken from another movie.
Clever, not original, but clever.
And Chris Rock was right, you don’t use Jude Law for lead roles.
I saw CHLOE and GREENBERG today.
CHLOE was really good until the end. I mean, they set EVERYTHING up so well and then it just became like….predictable and trite. Totally not fulfuilling. But Moore and Seyfriend were *yowza* but I mean, you gotta knock that shit outta the park when you set it up so well. I should see the original too but CHLOE was o.k. when it should have ruled all.
GREENBERG is a toughie. My most favorite movie ever is (inexplicably) Baumbach’s KICKING AND SCREAMING but every subsequent movie of his has left me somewhat cold. Plus, I am and always have been a HUGE Greta Gerwig supporter and for all my issues with the film, she’s simply great. GREAT. I guess for me my anticipation to it didn’t pay off but I do kinda love it. Come to think of it, it’s growing on me more and more.
LYT, I signed. Tommy Wiseau is a master.
I brought a sign to tonight’s showing, and Tommy acknowledged it. Pics to follow, if my friends can figure out how to get them from phone to computer.
“There you go. Giving a fuck when it ain’t your turn to give a fuck.”
Right on Mary, it seems someone’s always critical of SPC release strategies, though they have been able to stay profitable while all the other dependents that have copied thier model reach too far and have to shut their doors.
These guys have been doing this for 30 years at three different studios. While the parent companies have gone bankrupt someone else is always willing to give them a place to hang their shingle because they know what their doing. Not that this isn’t the place to criticize marketing decisions and release strategies, but if anyone deserves the benefit of the doubt…
I don’t mean to quibble, and nothing against SPC, but regarding Chloe’s opening weekend, $1 million from 350 theaters for a PTA of about $2,800 doesn’t strike me as an OK opening. It seems pretty weak to me.
I absolutely love The Squid and the Whale. I think it’s hilarious and Daniels, Linney and Eisenberg are superb. I didn’t much care for Margot at the Wedding. Greenberg sounds more like the former and less like the latter, or at least that’s what I’m hoping for.
I think it is not weak (not great, but acceptable), since “Chloe” opens better than many specialty films that had similar kind of release, like “Funny Games” and “Fast Food Nation”. (It opens worse than “Choke”, though)
Whoaahh there, pardner(s)!
I have nothing but respect for SPC as an institution. Their track record certainly speaks for itself.
My criticism was of Sony proper for mishandling a commercial (if not very good) movie. Even with an “R” rating, I think that Screen Gems could have gotten a satisfactory opening out of “Chloe.”
Reality check, gang: we’re talking about a tawdry pulp thriller here, not “A Prophet” or “The Last Station.”
On the basis of the sorry returns for “Chloe” (and the underperforming “Dr. Parnassus” from earlier this year which could have been a slam dunk, or at very least a $20-million cume, for somebody like Lions Gate), perhaps SPC should only extend their TLC, labor-intensive marketing on more rarefied stuff like “Station,” “Prophet,” “Broken Embraces” and “An Education.”
Ostensibly commercial type fare (remember “Kung Fu Hustle,” “Jane Austen Book Club,” “House of Flying Daggers” and “Friends With Money” among others?) has soundly defeated them every time at bat since their Cinderella success story with “Crouching Tiger”…..10 long years ago.
Their deep-pocketed parent company should have gotten that memo long ago.
I mostly agree with you, movieman. SPC isn’t good at releasing ostensibly commercial type fare.
But if Screen Gems didn’t want to release “Chloe”, not one can do anything to force them. Screen Gems got buried with another erotic film “In The Cut”, and I doubt Screen Gems would want to release another erotic film after the failure of “In The Cut”. (Afterall, erotic films have very limited box office potential in US.)
“Dr. Parnassus” would do much better if somebody like Lions Gate release the film…. but Lions Gate decided to not release the film in US. (Based on what my friend said, Sony was the only company that gave US theatrical offer to “Dr. Parnassus”)
I don’t think that “Friends With Money” is a ostensibly commercial type fare. The film actually did very well and SPC was very happy with it.
Funny story about Repo Men. I randomly had a chance to talk to a guy that did some background effects on it, and apparently the CN tower is in the background in a couple shots (although I didn’t catch it).
Also, there’s a fairly prominent shot of Yonge Dundas Square (TIFFgoers know what I’m talking about) and they didn’t bother to remove the TTC symbols from the subway shots, which means, in my mind, that Repo Men is the second Hollywood studio film to be set in Toronto as Toronto (after The Love Guru).
Scott Pilgrim will be the third.
I’m with Lex on Chloe. High-end pulp for adults is a rare thing these days, and should be celebrated.
I looooved the unabashed Toronto locations and the fact that 80% of the movie is Julianne in fabulous outfits running from one cute cafe or hotel bar to another, or to the symphony, or to her office, which looks like an Apple store. LOVE that her character is a gynecologist, and I love that she and Liam are rich for no reason, just like in every domestic thriller from the ’90s.
And amidst all this, she gives what is likely to be one of the best performances by an American actress in a movie this year. How long is the movie industry going to let her keep making these insane quasi-arthouse melodramas (Blindness, Savage Grace) that no one appreciates?
Funny (or ironc-funny at least) that you should mention “In the Cut,” Mary C. I love that film (a minority opinion, I know), and consider it to be the sort of bonafide art film that SPC could have done a savvier marketing job with than Screen Gems. Of course, better U.S. reviews would have helped it in arthouses.
“Chloe” just feels a lot closer to the type of high-grade (in most cases) exploitation fare that Screen Gems has better luck with. Or maybe it should have just gone straight to video like their Lasse Hallstrom/Richard Gere pooch movie did last month.
Maybe I’m naive in presuming that Sony has the final say about which divison of their mega-corp releases the movies they acquire.
…”ironic-funny”….duh
Nice meeting you last night David. Don’t forget, Baltimore is The Greatest City in America, http://4.bp.blogspot.com/_uAkB9CS_dXE/SWKGYlsxJpI/AAAAAAAAC0w/yL0Y_5K8uEk/s400/pretavoyager_greenestcity.jpg
Screen Gems released “In the Cut” arthouse/upmarket/megaplex. Sony Pictures Classics would have handled it arthouse only.
That’s why certain arty product needs to be released via mainstream distribs. Because SPC does its own distribution, uber-mainstream chains will not always go near SPC titles.
movieman: Jane Campion mentioned about “In the Cut” again in a more recent interview. Apparently she is still proud of this film.
http://blogs.indiewire.com/thompsononhollywood/2009/12/10/ten_questions_for_bright_stars_jane_campion/
If a film could gross about $2 million in 300-theaters theatrical release, then I guess the film deserves to get limited theatrical release. At least “Chloe” would very likely be able to recoup its P&A cost (for US theatrical release).
Chucky in Jersey : SPC actually releases “Chloe” in many theaters of AMC and Regal.
http://www.sonyclassics.com/chloe/dates.html
Been seeing all this pre-release stuff and ads for Clash of the Titans and Prince of Persia – personally, I’m more eager to see Titans.
Is it is me or do these new-fanged swords-and-fantasy movies seem to have the same casting templates or agents? Between the two films, they have the major cast members from Schindler’s List (Fiennes, Neeson, Kingsley) and up-and-comers from the Daniel Craig Bond movies (Mads Mikkelson, Gemma Artherton) – just strange coincidences, possibly, but it almost make the two films blend together.
And heck, if Alfred Molina had a role in ‘Titans, he would have completed the hat trick, considering he’s in both The Sorcerer’s Apprentice and ‘Persia.
Well, it doesn’t hurt the pedigrees for either film – which one looks more appealing to you guys? Worthington destroys Gyllenhaal for this type of major role (can they just let him use his native accent in this one, at least???), but Newell is by far the better director than Letterier. It’s a tough call.
disarticulated
i’m a big fan of ‘in the cut’, a very challenging film. beautifully shot, i think campion pulls off the blend of grimy murder mystery and moody (at times uncomfortable) psycho-sexual character study brilliantly, but i know many people don’t dig it AT ALL. by far meg’s finest perf – practically unrecognisable, understated and subtle – and ruffalo in particular is rather sublime as detective malloy (kevin bacon’s creepy little stalker turn is memorable, too)
(can they just let him use his native accent in this one, at least???)
yes, because there were so many astraaaaains in ancient greece…
oops, forgot to put ” ” around geoff’s (can they just let him use his native accent?) quote
Leah, it’s MYTHOLOGY and Harry Hamlin (Worthington is a significant upgrade, I don’t care what any one says) played the original role, for godsakes – not losing sleep over this, I just think it’s funny that we have seen this guy in nothing but otherwordly roles, so far and he can’t just talk the way he talks – I would almost prefer an authentic Australian accent over some half-handed attempt at ancient Greece.
Did it really hurt Gladiator to have Russel Crowe use his native accent as the “Spanierd?”
Everyone knows that the appropriate accent for ancient mythology is the King’s English. 🙂
As to Newell vs. Letterier, I’ll take the Frenchman over the Englishman when it comes to goofy mock-mythological action epics. At least Letterier’s puts some energy into his action stuff, whereas Newell’s just comes across as… bland.
well, personally i think whatever accent is used in a movie it should be used by every player — the ‘lone american’ accent in a sea of UK or other brogues is the most absurd, egregiously abused and oft-used, see: ‘cruise, tom’ in ‘valkyrie’ for a recent example of utter ridiculousness — so by that reasoning, since the rest of the cast would appear to use UK accents in ‘clash’ (i haven’t seen it, just based on the trailer) sam should go british. and he should have LONG HAIR, but that’s a whole nother kettle of fish
(and yes, russel’s kiwi/aussie hybrid accent is preposterous in ‘gladiator’. unleash hell indeed. but i can’t stand that fucking movie. joaquin and oliver reed are the only bright spots in ridely’s epic snoozefest. scott should only be allowed to shoot ‘intimate’, that’s where his strength lies, never epic, at which he generally blows)
Geoff/Telemachos,
I thought that Russell and pretty much everyone in Gladiator intoned in a RADA accent. Much better that it was at least uniform (even Phoenix made a good stab at it).
I doubt that I am alone in wanting to forget what Oliver Stone had everyone doing in Alexander; pick an accent, any accent, don’t show it to the audience, let ’em guess it.
Wow, leahnz, up until now I had thought I had the same judgment in film as you. But what you have to say about Gladiator… well, I will admit this much. Ridley’s real strength may not lie in ‘intimate’ but he is extremely underrated when it comes to that. T&L was very good and I think the best film he has made in the last ten years was Matchstick Men, an unpretentious card-trick of a movie. He seemed to do it in sleep and I wish he would do it more often. I am shuddering in fear of Robin ‘ood.
pope, i know i’m not exactly in the majority when it comes to my intense loathing of ‘gladiator’ so i feel you there, i’m a lonely camper, i get that.
re: r scott, i could ramble on and on so i’ll spare you that indignity, but i don’t think his grasp of the epic is at all skilled, his handling of big action (particularly war/battle action) is inexplicably turgid and dull in most cases, with the exception of some of the set pieces in ‘black hawk down’, which are genuinely harrowing.
he handles ‘intimate’ action much better, body-on-body stuff such as the flat-out brilliant fight sequences in ‘blade runner’, some of the colosseum fighting in ‘gladiator’, etc. intimate close quarter contact/character is where ridley mostly excels, i don’t know why he keeps at this ‘epic war’ crap at which he is utterly mediocre and unsuited, IMHO.
(‘matchstick men’ is a brilliant movie, utterly delightful, one of my faves. obviously ridley doesn’t always pull off his intimate stuff well as evidenced by the ultrabland poopfest that is ‘my favourite year’, but i have a theory: he should stay the hell away from russel crowe. a restraining order may be required)
1) WORTHINGTON = GOD.
2) Ridley Scott is the greatest director of all time, enough blasphemy.
3) Allison Lohman in Matchstick Men = *BOW*. Pretty sure I don’t need to outline the roughly 10,000 reasons this mix of character, actress, and role would by VERY appealing to me. YEP.
sorry, ‘a good year’! what was i thinking
Hmm, I kinda liked A Good Year, in spite of its star/director being THE most humorless combo on planet Earth, and thus the film not being exactly as light on its feet as it would’ve been with literally ANY other combo.
Saw How to Train Your Dragon with my five year old daughter, today, and we had a BLAST – probably the best time I have had with an animated film since The Incredibles, which is incidentally the last film I saw with my wife before my daughter was born a month later.
Just a fun, sharp, wherling dervish of a movie – good voice cast, wonderful scenery, charming accents (although we’ve been on this accent thing, this blog – any reason why Vikings had Scottish accents, oh and all of their younger offspring literally sound like they came from an Apatow movie?) – I have never found Gerard Butler more engaging than with his voice work as Stoick. The animation was crisp and quite memorable and the flying scenes did really rival Avatar, which is big praise coming from me.
Truly the first Dreamworks Animation film I have seen that has real heart and I was moved by some scenes more than any part of Up, strangely enough.
My daughter was literally jumping in her seat from excitement for the last 20 minutes and could not stop chattering about dragons for the rest of the day – just a great cinema experience.
This was a movie I was already kind of interested in seeing, but thought it would be a nice “boys movie” change of pace for my daughter, who has been on a crazy Princess kick, lately. Check it out, a good time for the whole family.
Also saw Hot Tub Time Machine. It’s ok. It has some good laughs, but not a lot of them. There isn’t a memorable lol moment, that a film like this usually needs. Maybe I set my expectation too high…strange to see John Cusack playing the Bradley Cooper straight man role.
Oh and another thing about Gerald Butler – why the hell couldn’t they find a role for him in films like Titans or Persia, when he keeps taking these crap McConnaghey-lite roles in junk like The Bounty Hunter??? It can’t be the paychecks – 300 is still his biggest hit, though I wasn’t that crazy about it.
Strangely enough, I caught Rein of Fire for the first time on cable, this week – not a bad movie (also about dragons, strangely enough) and he was pretty solid in it and brought plenty of credibility to the role. This kind of otherwordly sword-and-sorcery stuff is truly his wheelhouse and he should stick to it – listening to him try out these smarmy American accents in films like The Ugly Truth (couldn’t get past the first 15 minutes) is actually painful.
Pair him up with a tarted up sitcom actress? Pass. But pit him against a dragon? I’m there.
creedy is yum (quinn ain’t bad for that matter)
(butler should just be BANNED from ever attempting an american accent, are the people who cast him in these movies hearing impaired or tone deaf?)
speaking of butler, i happened to catch him in the unintentional hilarity that is ‘timeline’ on cable the other night, but his scottish brogue was thick and his hair was long, so he managed to muddle thru relatively unscathed, compared to the rest of the cast anyway. i think i felt most sorry for david thewlis, poor bloke. not exactly donner’s finest hour
(we are looking forward to ‘train your dragon’ in our house. but again with the ‘lone american’ accents, wtf. i think it’s insulting to the american people to apparently assume the protagonist must have a yank accent or they can’t relate, if that’s the rationale)
Anybody else think this is Robin Hood movie is going to be a big failure? Crowe’s about 12 years too old for the role.
“but again with the ‘lone american’ accents, wtf. i think it’s insulting to the american people to apparently assume the protagonist must have a yank accent or they can’t relate, if that’s the rationale”
Well, Leah – there IS at least some consistency within ‘Dragon. It’s just possible that in this particular Viking village, it’s a generational thing – the older folks have Scottish accents and their offspring all sound like they’re from Southern California. Must be the climate change…..
ah, i guess at least there’s a degree of consistency in their strange accent medley then
All of this random accent talk has me thinking of 10,000 B.C., in which the main tribe not only has a random medley of accents, but a medley of ethnicities.
“(can they just let him use his native accent in this one, at least???)
yes, because there were so many astraaaaains in ancient greece…”
Hey, I don’t think many greek muses in 1980 California would have Aussie accents either, but that didn’t stop Olivia Newton-John using her Aussie accent as she rollerskated about surrounded by glowing neon as she helped her album art record store painting boyfriend in Xanadu. Not at all!
In regards to In the Cut, I recently rewatched and had the exact same feelings about it that I did in 2003. It’s very flawed, but it is dripping with atmosphere. Reminded me of Spike Lee’s also much-maligned, but loved by me, Summer of Sam. Ryan is fantastic and Dion Beebe’s cinematography is astonishing. Maybe not enough people went to go see it because they didn’t want to know that everything they knew about desire was DEAD.WRONG.!. Perhaps.
Re: Ridley Scott’s sense of scope. I just watched Blade Runner last weekend for the first time in years, and I was struck by how much smaller the movie is in scope than I remembered it. Aside from a few flying car / large building shots, it’s a movie with few characters and relatively few locations, with many of them inspiring a sort of claustrophobic dread.
The movie also kind of dodges its own premise, in that Deckard never has any trouble distinguishing the replicants from the humans (aside from himself, if you believe the theory). He has pictures of the replicants and there’s never any doubt since they all attack him as soon as he stumbles onto them.
Re: Gerard Butler. Totally unsuitable for romantic comedy. Somebody’s trying to make him into a type of movie star that he’s not. He (and Worthington, too) would do well starring in straight-up action for the rest of his career. Not everyone can be Will Smith, and it’s embarassing to see him try.
I find “Summer of Sam” so underrated. The Berkowitz scenes are up there with anything in “Seven” or “Zodiac” and it really nailed the period. Quietly, I think it’s one of the best of Lee’s more recent films.
And, taken from a quick cruise past Wikipedia:
“Berkowitz plans to write a memoir, entitled Son of Hope: The Prison Journals of David Berkowitz, which will be published through Morning Star Communications. Berkowitz himself will receive no money from publication, and a portion of the proceeds will go to the New York state crime victims board for distribution to the victims of his crimes.”
HOT TUB TIME MACHINE deserved its fate. Now we can spared more 80’s throwbacks with gross gags. Hope.
Did you actually see Hot Tub Time Machine, Christian? It’s better than your description would suggest. And most of the ‘gross gags’ are quite effective.
Christian is the least fun guy ever.
I read the script and unless they added humor to it while in production — I mean, do people really think these Farelly gags are funny anymore? In an age of Two Girls One Cup, how can you compete? Why?
And Lex, coming from you that’s a laff riot.
Judging a comedy by a script can be problematic, can’t it? It can’t convey a sight gag effectively or account for improvisation.
People I have talked to about HTTM say it’s stupid but funny. Sometimes I want nothing more than that from a comedy.
I enjoyed HOT TUB TIME MACHINE but it was like laugh-out-loud funny, although I did laugh out loud a few times. And of course it’s a stupid movie; it’s about a hot tub time machine.
Lex should sue for rights on that Lou character played by Rob Corddry. Dude totally stole your schtick man.
“Re: Ridley Scott’s sense of scope. I just watched Blade Runner last weekend for the first time in years, and I was struck by how much smaller the movie is in scope than I remembered it. Aside from a few flying car / large building shots, it’s a movie with few characters and relatively few locations, with many of them inspiring a sort of claustrophobic dread.”
eric, that’s sort of the point i was trying to make yesterday but didn’t really have time to flesh out, ‘blade runner’ is a very intimate film, as is alien, t & l, someone to watch over me and white squall (which i actually like but nobody else seems to); even his somewhat bigger movies like black rain, legend, GI jane and BHD are filmed rather intimately and don’t aim for ‘big action’, the action is more intimate and focus is on character.
it’s when ridley goes for ‘big action/war’ that his films really suffer (gladiator, kingdom of heaven, body of lies, etc); he’s just not a great action director and his deft hand with actors and story seems to get lost and suffer when he’s trying so hard for ‘scope’, which just results in heavy-handed, flat movies.
(kam, i feel your ‘in the cut’/’summer of sam’ urban menace mood comparison)
sorry, i left ‘matchstick men’ off the scott ‘intimate’ list, can’t do that
Reading the script cannot convey the manic energy that Rob Corddry gives his performance, or the deadpan brilliance of Craig Robinson or Crispin Glover.
Or Jessica Pare’s incredible rack.
I don’t know which one that was.
She’s the chick who Robinson bangs in the tub.
I didn’t believe it was her till the end credits, because JESSICA PARE is a HUGE, AWESOME STAR– okay, or at least a cool indie/TV actress. She had two big Canadian/indie hits right out the gate with STARDOM and LOST AND DELIRIOUS, was one of the female leads in WICKER PARK, and was the female lead in the TV show Jack and Bobby.
Not a big name or anything, but kind of surreal to see her in a ten-second role as a HOT NAKED CHICK with her rack in the camera lens; It’d be like Bridget Moynihan or Piper Perabo clocking into HANGOVER 2 as a topless extra in a dialogue-free scene in a peep show booth.
These film’s templates are rote and cliche. Gag followed by faux-warmth followed by gross gag etc.
My friend told me how the “give oral to your friend bet” scene played out and it still wasn’t funny. But that’s me. “Gross” is internet fodder now.
I do have a hankering to see Crispin Glover tho.
LIZZY CAPLAN is the best thing to happen since GABE KAPLAN.
You’re gonna have to elaborate on that, Christian. But I have as much trouble with judging a film on its ‘templates’ as I do on a moron like Chucky deciding that a film is no good because of how he judges the marketing campaign.
Unless you want to say that you just flat-out don’t like sophomoric gross-out guy movies as a rule, which you seem to have suggested in the past. That’s fine if the genre just isn’t your cup of tea, but please make that clear.
Wow, Hot Tub Time Machine really really sucked. It reminded me of a VHS tape that you’d find in the $2.00 bin at some neighborhood video store finally getting rid of all their tapes–it would come without a box and with a Vestron Video label.
I’m sure I’ll get slammed for suggesting that a movie with such a ridiculous (but genius) premise should actually be good. The movie was terribly miscast. All of the jokes were gross out jokes–puke/cum/piss–way too many jokes dealing with homosexual panic–and what’s the point of wheeling in poor Chevy Chase if you aren’t even going to give him something to do. I thought the Crispin Glover running gag was funny enough. But the movie looked like shit. And, I also know that I might be slammed for expecting a movie like this to actually have a story…but…
SPOILER
The John Cusack character returns to present day to find that he is married to the woman he met in the past–yet he has no memory of it and can only piece it together by the photos on the wall. So this means that meeting this woman has changed the course of his life…but he’s not going to remember any of it because he wasn’t there for it. Hard to say that’s a happy ending or any kind of thought-out logic.
END SPOILER
Hey, I didn’t think The Hangover deserved all the Oscar hype it received…but it was an example of a comedy with a clever premise that really paid off in wild and unexpected ways. Hot Tub Time Machine deserves what it is getting–people involved seemed to think that all they needed was the premise and the poster. Wrong.
Sort of agree about the ending, that
SPOILER, IF ANYONE CARES….
I’d be PISSED about essentially not having lived *23 YEARS OF LIFE* (or at least not remembering it), but, you know, it’s called HOT TUB TIME MACHINE, not THE READER.
END SPOILER…
And Chevy comes with so much audience goodwill, and as Community proves he can still knock it out of the park, so, yeah, maybe vaguely disappointing he just spouts some Zen Ty Webb style nonsense in his too-few scenes; Wish he’d had more to do.
I like smart comedies that earn gross-out points. The early Farrelly films did that. But it’s very diminishing returns with the incessant shit/cum/homo-panic gags. Cheap, easy and just not funny. I’d probably be of like mind with Glamourboy.
Well, the definition of ‘smart comedies’ and how they ‘earn’ is up for debate.
I just think it’s fairly intellectually dishonest to judge a movie when you haven’t seen it. Nicol does it all the time, so does Chucky.
Yes, jeff, comedy is subjective and always up to debate. But I read the lame script and that was plenty. None of my friends who saw HTTM gave it a thumbs-up. Jeff Wells, who has the worst taste in film, thinks it’s totally awesome. Of course, I hated PORKY’S when it came out. You can make an informed opine about something unseen based on empirical evidence, jeff. I’m certain you’ve done it before.
While I’m leaning towards siding with jeff on not pre-judging a movie without having seen it, I don’t think christian will dig it based on his preconceived notions that really aren’t too far off base.
Glamourboy and Lex, I do agree that the SPOILER SPOILER SPOILER altered lives of the main characters is actually a little disturbing, and only superficially happy. But: Back to the Future! That’s pretty much the same deal; Marty McFly now has a completely different memory of his childhood than the one that “actually” happened, and doesn’t seem too weirded out. If it happens in Back to the Future, a near-perfect bit of entertainment, I can’t really fault this movie for pulling the same trick.
I’m a little surprise that this isn’t getting the same love as The Hangover, or that people are comparing it unfavorably. It’s a less polished-looking movie than The Hangover, but honestly, the writing in HTTM struck me as a lot funnier. Grab-baggy and sloppy and hit-and-miss, yes, but funnier and lacking that creepy Todd Phillips sourness.
It’s definitely not a well-made movie; not only does it look crummy, there’s almost no sense of even basic time (they’re back in time for about 24 hours, yet it seems to become night after about five minutes, and the cross-cutting between the four dudes is handled pretty poorly, with everyone just running around and repeatedly running into each other). AND yeah, the lame gross-out stuff is a hallmark of those screenwriters who also slipped poor-man’s-Farrelly gags into Sex Drive and She’s Out of My League.
BUT: at least it has a lot of different comedy styles bumping up against each other, and delivered with a fair amount of bravado. The Crispin Glover running gag is sort of emblematic of the whole movie: *beautifully* set up, very funny, and then a slightly disappointing payoff that’s not exactly bad, just a little clumsy and underwhelming. But I enjoyed the set-up so much that it didn’t matter a whole lot.
It’s nowhere near my favorite smart-stupid comedy of recent years. The Ferrell-McKay movies are better-made even when intentionally flying off the rails a la the glorious Step Brothers. But HTTM is a much better time at the movies than The Hangover. Then again, I’d say the same about Land of the Lost or Year One or any number of worse-regarded box-office flops.
My preconcieved notions come from reading the actual script — now if you tell me that huge swaths of plot and dialogue were altered and that there was no “shits then vomits” flashback….
“Anybody else think this is Robin Hood movie is going to be a big failure? Crowe’s about 12 years too old for the role.”
Nah. Connery was 50-something in Robin and Marian wasn’t he? The movie’s problem is the slot between Iron Man and Shrek / Persia. Call it Prince Caspian syndrome.
But christian-
jeff’s right that *reading* HTTM and *seeing* it are 2 different things. Corddry is really great and there’s several small moments that are really funny as well (greawhitebuffalo…greatwhitebuffalo.
I’m just not a proponent of reading a script before seeing a movie for precisely that reason. You can read it and deem it funny but if Pauly Shore had been “Lou” it would be totally different than Corddry’s interpretation of “Lou.”
I do agree that the movie is pretty shittily made though. It just looks cheap and crappy. But I didn’t really care. I took my 14 year old cousin and we both had fun.
While there are times that can be true, a comedy should have some corollary to what’s on the page unless it’s a cast of dynamite ad-lib comics, like in SHAKES THE CLOWN, which I think brilliant, or HAPPY GILMORE, a movie I forced myself to watch that’s now in my comedy pantheon. I thought THE HANGOVER unfunny proto-frat bullshit, so I’m clearly in the minority. And if a movie that is “pretty shittly made” is a recommendation…
Hathaway has a better agent. That’s the only difference.
http://media.egotastic.com/media/pictures/1001/jessica-pare-nude-hot-tub-04.jpg
Now had the film been called HOT BLOG TIME MACHINE…
“Connery was 50-something in Robin and Marian wasn’t he?”
It made sense for that, because he was playing an aging Robin Hood at the end of his life. Crowe is apparently playing him BEFORE he became “Robin Hood.” So yes, a bit old.
I think the only franchise people could give a shit less about than ROBIN HOOD is frigging GODZILLA and looky what got greenlit today. Oh, and the MISSION IMPOSSIBLE movies. No. One. Cares. ZZZzzzz.
I don’t remember a ‘shits then vomits’ flashback, but I could have missed it somewhere in there.
Christian, I just think that if you’re going to talk about ’empirical evidence’ that you have to be careful how far you go. For example, I certainly agree that, in all likelihood, Saw V-VI were shitty movies since I hated II-IV. And I’m happy that the franchise got beaten last year by Paranormal Activity. But I don’t think it’s fair to say that when a movie flops that it ‘deserves its fate’ when you haven’t actually had the experience of seeing the performances, etc., unless you want to just condemn gross-out comedies as a class.
PS: I very much enjoy the two Jackass movies, which I’m pretty sure you despise.
Any script trying to parody HOT DOG: THE MOVIE does deserve its fate. And yep, I despise JACKASS.
I like THE MONEY PIT.
I like SATURDAY THE 14TH.
JACKASS 3-D will make you BOW…before the porcelain god, if nothing else.
“Dirty Harry”‘s HOT TUB review just went live on BIG HOLLYWOOD (aka the worst website in Amrerica). Good for a few laughs. Even Michael Medved would probably tell this guy he’s a douche:
http://bighollywood.breitbart.com/jjmnolte/2010/03/29/review-cynical-strained-hot-tub-time-machine-fails/
Unrelated, but why is successful, beloved, extremely busy and talented character actor ADAM BALDWIN a regular columnist on Breitbart’s site? Isn’t that kind of low-rent?
It’d be kinda like Tim Roth making an extra 80 bucks a week by reviewing Gerard Butler movies on Cinematical.
Jon Voight gets more work than Adam Baldwin, yet he still finds time to rant about politics.
“Nicol does it all the time, so does Chucky.”
And so do you. Anyone who chooses a movie to go to on a Friday night because they think they will like it or avoided it because they don’t, judges a movie before they have seen it. If you avoided Catwoman because you thought it looked like shite…welcome to the club.
Apropos of nothing…
Saw Shutter Island and Runways last week.
Shutter is easily Leo and Marty’s most successful film to date. Wonderfully tense. My stomach was full of knots. 20 minutes shorter and it is a perfect genre film. Can’t wait for Leo and Mel to hit the Viking trail. Speaking of pre-judging a film, I am sure the two star reviews are already in play.
The Runaways…Stewart nails Joan Jett in everything from her body language (hunched shoulders playing guitar) and tone. It is a very entertaining film that perfectly captures a decade but is only marred by the fact we have seen this story before.
Loved it though. I came home and watched Joan Jett videos on You Tube for an hour after.
“Wow, Hot Tub Time Machine really really sucked. It reminded me of a VHS tape that you’d find in the $2.00 bin at some neighborhood video store finally getting rid of all their tapes–it would come without a box and with a Vestron Video label.”
2.00 dollars. Vestron video.
Hot Tub Time Machine just shot to the top of my must see list!
“The Runaways…Stewart nails Joan Jett in everything from her body language…”
I’d like to nail HER, if you know what I mean.
K-STEW 4 EVER. GOOD OPINION NICOL.
Also: FANNING FOR BEST ACTRESS. K-STEW FOR BEST EVERYTHING.
Lex
I think they are targeting the wrong audience going for the Twilight fans. Sigismondi is a fantastic vid director (from Toronto) and they should be going for Gen x types who loved Jett. I did and still do.
Yes, Stewart rocked as Jett…but you tube the real Jett in her Love Hurts video and you will see what tight really means.
That’s a sexy woman in a lace body suit.
This post has been up 3 days and I still don’t have my own Baltimore. Does everyone have a Baltimore except me?
All the horny males on this blog are gonna be disappointed. The UA East Hampton on Long Island drops “The Runaways” tomorrow to open “The Last Song”.
Indifferent box office in limited release spells no wide release for “The Runaways”.
“‘Nicol does it all the time, so does Chucky.’
And so do you.”
Phony distinction, Nicol (as if I didn’t need more evidence that you don’t know how to be intellectually honest). Picking and choosing which movie to see and not see is a very different thing than going to blogs and actively badmouthing specific movies without seeing them. I know you can tell the difference.
Until you’ve seen all the SAW sequels, you can’t badmouth them, jeff.
It seems to me that a difference between Hot Tube Time Machine and Back to the Future…
SPOILER SPOILER SPOILER
… is that when Marty got back he himself was unchanged despite the rest of his family changing. (Sleeping in the same clothes and the same position… even if the room was a little more nicely decorated.) The point was that his *family* had changed, for the better. It was about them, not him. (Nice 4×4 notwithstanding.)
Except that it was Reagan-era creepy that his family had turned into yuppies.
Hey, not to sound morbid or anything, but has anybody checked to make sure that DP is, well, you know, still with us?
Pretty sure he’s visiting family as the BYOBaltimore header would indicate.
Jeremy, nonetheless, Marty doesn’t live in a vacuum. Presumably if all of his family members have had radically different, improved lives (his father a published author; his uncle no longer a jailbird; his mom not so boozy), any memories he has of his childhood are subject to disappearing. I’m not saying he should break down and cry over his family’s improvements, and indeed it’s a nice touch given that he wasn’t *trying* to improve his family’s life so much as maintain the status quo and still get born. But it always nagged away at me that for the rest of his life, he may be subject to family memories that he doesn’t actually have!
Christian, I’m pretty sure I’ve never bothered to say anything bad about Saw 5-6, which I haven’t seen. It would be dishonest for me to do so. I have no problem saying the others suck.
And really, give me a fucking break here. If you weren’t so wrapped up in judging every goddamn thing like a politically-minded zealot, you’d be agreeing with me.
Jesse, are you sure the uncle is no longer a jailbird? I’ve probably seen the end of that movie 20 times, but I’ve never noticed a line about Uncle Joey in the “revised” 1985. It wouldn’t make sense anyway. All Marty changes in the past (besides the pine tree) is his dad’s confidence level. It’s hard to see any obvious connection between that and his mom’s baby brother.
Anyway, sorry to nitpick — like I said, I’ve just seen the movie too many times.
I was nine when Back to the Future came out, and even then I was bothered that Marty gleefully accepted this new reality, when he really doesn’t know his family anymore.
Plus, I always found it hard to believe the McFlys would live in the same home – which, I guess, was sort of tackled in Part II.
Chucky, how many people here do you think live in East Hampton?
Tomorrow When the War Began trailer!! That is all.
Problem with ROBIN HOOD not Croowly Roossy but.
– Not enough blood and guts.
– Not in 3d.
– No big monster.
– No tights.
I say.
I would think that the Bigger shock to McFly would be his girlfriend taking on entirely different speaking habits, facial structure and body type once they got to the future. Sure it was a little step up but still.
I ussually dislike remakes and wouldn’t want this to be a theatrical but I think it would be a neat idea for Amblin to make a cable movie or DTV remake where a teen in 2015 goes back 30 years to 1985.
“And really, give me a fucking break here. If you weren’t so wrapped up in judging every goddamn thing like a politically-minded zealot, you’d be agreeing with me.”
Sez you. What does politics have to do with HOT TUB TIME MACHINE? Doth protest waaaay too much.
“What does politics have to do with HOT TUB TIME MACHINE?”
Did you read the John Nolte review Lex linked? It’s apparently anti-individual initiative, and paints fans of Red Dawn as bad guys. Ergo, it’s dangerously liberal.
@Kami: I have family who live in the area year-round. It doesn’t hurt that the UA East Hampton is an important theater for Regal.
Fine, Christian, I shouldn’t have said political. Alls I know is, you’re the guy who decided to get provocative by saying the movie ‘deserved its fate’ sight unseen by you based on your aesthetic disapproval. So you’re just a judgmental zealot in this case, and not a political one.
Chucky, nice job misunderstanding KCamel’s question to you.
How many blindered Hot Blog posters does it take to screw in a light bulb? None, they can’t tell it needs changing because they keep their eyes closed at all times.
‘How many blindered Hot Blog posters does it take to screw in a light bulb? None, they can’t tell it needs changing because they keep their eyes closed at all times.”
Well, you gave away the punchline in your setup, and it doesn’t make sense since they’ll probably need their eyes open to read and respond to comments on the Hot Blog. How about…
How many Hot Blog posters does it take to screw in a light bulb?
Three. One to claim the light bulb is just a trend foisted upon us by inadequate mainstream news reporting. One to demand what right the first person has to claim such a thing. And one to remind the first two, “WHO CARES? K-STEW IZ HOT!”
How many name-checking addicts does it take to screw in a light bulb?
From the blog that brought you “The Ugliest Part Of The Sandra Bullock Thing…”
…And the LOL-winning commenter of “Sorry to interrupt your parlor game, boys”…
…Comes a joke so funny, it is sure to be nominated for an Academy Award:
Chucky In Jersey’s Light Bulb Joke
Spring 2010
I just name-checked Chucky In Jersey. That’s some kind of unpardonable crime, isn’t it?
Oops.
Chucky, you’re an idiot.
“How many name-checking addicts does it take to screw in a light bulb?”
One, after he makes sure it’s an award-winning General Electric one.