The Hot Blog Archive for October, 2006

The Final 1-Sheet

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Variety & The Hollywood Reporter Rave Flags

Lots of story detail in both…
“The film’s themes are so thoroughly embodied in the drama as it’s told that there is no need for explicit statement of them.”
The full Todd McCarthy review
“Clint Eastwood’s “Flags of Our Fathers” does a most difficult and brave thing and does it brilliantly. It is a movie about a concept. Not just any concept but the shop-worn and often wrong-headed idea of “heroism.” “
The full Kirk Honeycutt review

9 Comments »

Flags Of Our Fathers – 2 Slow 2 Unfurious

Part One – On Eastwood
Even though the flag raising on Iwo Jima seems like perfect Eastwood material, it is not. Not because he can’t handle a war film or that it is too complex. His strength is working from simplicity and then turning it upside down and inside out. The problem is that there is no villain in the story. There is no standard from which hypocrisy can rise and, ultimately, fail under the weight of good, flawed men. The story of Iwo Jima and the flag raising – at least as Eastwood and Haggis tell it – is not that interesting and, more importantly, the life and death of soldiers was as random as the flip of a coin. In the specific of the flag raisers, three survived the island and three did not. And for all the “he was the best soldier ever” crying, it could have easily been the three who died that survived and vice versa.
This is not an Eastwoodism.

The Rest at The Hot Button
And Part Two – Flaws Of Our Movie
If you are looking for a war movie, you will be sadly disappointed. There is plenty of sepia-toned beach landing/gun fire/machine gun/grenade/flame throwing/body splitting stuff here. These battle sequences are episodic and uninspiring. It’s almost like they went through books and found all the cool ways people died and placed them end to end. For about 20 minutes, it seems like we are watching a poor man’s Saving Private Ryan.
The Rest of the MCN review

59 Comments »

Does Anyone Edit This Shit?

Laura Holson

8 Comments »

A New Low

Zorianna Kit sat in the guest seat on The Absent Legend & Roeper this week… never a critic and not even a credible journalist anymore and offered her primary assets for the spot, blonde hair and exposed cleavage. (And this is with due respect for Zorianna

34 Comments »

Sunday Estimates by Klady

Weekend (estimates) October 6 – 8, 2006
Title | Distributor | Gross (average) | % change | Theaters | Cume

The Departed | WB | 26.5 (8,790) | new | 3017 | 26.5
Texas Chainsaw: The Beginning | New Line | 19.1 (6,780) | new | 2820 | 19.1
Open Season | Sony | 15.9 (4,140) | -33% | 3833 | 44
Employee of the Month | Lions Gate | 11.7 (4,550) | new | 2579 | 11.7
The Guardian | BV | 9.7 (3,000) | -46% | 3241 | 32.5
Jackass: Number Two | Par | 6.4 (2,120) | -56% | 3007 | 62.7
School for Scoundrels | MGM | 3.5 (1,170) | -59% | 3007 | 14.1
The Gridiron Gang | Sony | 2.4 (1,060) | -48% | 2228 | 36.7
Fearless | Focus | 2.3 (1,400) | -55% | 1617 | 21.7
The Illusionist | YF/FS/Odeon | 1.8 (1,600) | -33% | 1149 | 34.1
Little Miss Sunshine | Fox Searchlight | 1.3 (1,540) | -36% | 824 | 55
Trailer Park Boys | Alliance | 1.2 (6,680) | new | 181 | 1.2
Flyboys | MGM | 1.1 (730) | -55% | 1471 | 11.9
Facing the Giants | IDP | 1.0 (2,250) | -27% | 435 | 2.7
The Science of Sleep | WIP/Seville | .74 (3,290) | -34% | 225 | 2.8
The Black Dahlia | Uni | .56 (600) | -74% | 931 | 22
Also debuting/expanding
The Queen | Miramax | .39 (35,270) | 132% | 11 | 0.62
The Last King of Scotland | Fox Searchlight | .29 (9,770) | 105% | 30 | 0.53
Love’s Abiding Joy | Bigger Pics | .13 (720) | new | 185 | 0.13
Alex Rider: Operation Stormbreaker | Alliance | .10 (900) | new | 115 | 0.1
Little Children | New Line | .10 (20,640) | new | 5 | 0.1
ShortBus | Thinkfilm | 77,300 (19,330) | new | 4 | 0.08
Not a lot more to say.

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Eastwood Does The Four Seasons

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4 Comments »

Does This Mean I Have To Be Nice To Peter Travers?

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23 Comments »

The Departed: A Thread Of Its Own

Have at it…

67 Comments »

Klady's Friday Estimates – 10/7

The Departed opened on more than 1000 screens more than any Scorsese movie has opened on before. (Bringing Out The Dead, 1936 screens) It

29 Comments »

Box Office Hell – 10/6

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22 Comments »

Just Sayin'…

“No one cares about the secret

26 Comments »

Do You Care?

As reported in NY early today, Dennis Lim is out at the Village Voice, leaving only J Hoberman as a flagship critic.
LA Weekly, also part of the New Times empire, has kept Scott Foundas and Ella Taylor busy, as their bylines turn up not only in NY, but across the New Times/Voice chain of papers.
I would and have argued that a similar concept be used by the Tribune Company papers… but without all the thinning of the herd. Power comes from popular, powerful critics, not from “we just review every movie and God knows who it will be this time.” Tribune Company paper readers should get perspective from their quality critics from all over the country.
Oddly, the Tribune Company is using this principle in their Oscar coverage push, as the only legit film journalists in their version of Gurus o

21 Comments »

New Outdoor From Paramount

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36 Comments »

The Hot Blog

Quote Unquotesee all »

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