I feel alone every time I try to talk about Glee with my male friends. Turns out, it’s not a show that other guys watch. But I’m not ashamed to be a straight man who loves musicals and TV shows filled with showtunes. It’s just my upbringing, having been raised somewhat by Rodgers & Hammerstein and spending most of my teen years acting in high school drama productions.

Ironically, though, I have no interest in the film adaptation of Rock of Ages, the 80s rock anthem-filled “jukebox musical” that Adam Shankman (Hairspray) has been tapped to direct. It looks cheesy and I don’t much like the idea of these types of musicals that revolve a plot around a greatest hits compilation. But Shankman thinks it will be like “Mamma Mia! for dudes,” meaning he actually believes heterosexual guys, the kind that don’t watch Glee and The Sound of Music if they can help it, will want to see it.

The whole idea got me wondering, though. What are the most guy-friendly musicals ever made? Probably those from Monty Python. Is Paint Your Wagon on the list? How about Tommy? Grease? Is Guys and Dolls cutting it close? Honestly, unless Rock of Ages has a lot of action and explosions, I don’t see it appealing to the average straight man.

Shankman is also in the news today with the announcement that he’ll co-produce the 2010 Academy Awards telecast with former Fox exec/producer Bill Mechanic (The New World). This makes me wonder if Shankman will try to jump off last year’s “musicals are back!” theme with a “guys can like musicals and the Oscars, too!” vibe. Preferably with his Pacifier star, Vin Diesel, hosting (and dancing and singing and maybe kicking some ass). In all seriousness, though, Shankman will probably try to bring Steve Martin back.

What do you think it would take for real manly dudes to both go see Rock of Ages and watch the Oscars? Comment below with your suggestions and check out the other film blogs’ responses to Shankman’s goal after the jump:

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I’m not going to offer any argument in the debate over Roman Polanski, who was arrested in Zurich Saturday for a crime that’s older than I am (by 10 days). I’m just going to let this be a straight roundup of blog commentary related to the case, particularly to the divisiveness of support and anger sparked by the arrest and threat of extradition. It was enough that everyone had an opinion on the web yesterday concerning the topic, now it’s time for everyone to lash out against those who disagree with them, especially against the many film industry heavies who’ve signed a petition (and others rallied by the journal La Règle du jeu) asking for Polanski’s release.

Feel free to comment with your own arguments below, but only if you’ve seen the documentary Roman Polanski: Wanted and Desired. See the film even if you don’t wish to share your opinion, though, especially since there’s now a very good possibility we’ll be getting at least one sequel to the doc in the future.

Check out the film blog responses to the Polanski “culture war”* after the jump:

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Let it not be said that today’s nerds are indifferent to history. For the second year in a row, Fantastic Fest has set aside a portion of its program to pay tribute to classic pink films. Think of these unclassifiable softcore B movies as Japan’s answer to Roger Corman: some are schlocky fun, some are unwatchable, others are subversive works of art. And as Corman’s assembly line gave way to the 1970s American new wave, pinku has given many of Japan’s major mainstream filmmakers their start. The most notorious graduate of the pink school, at least in the States circa now, is Yojiro Takita, whose schmaltzy Departures won the Oscar earlier this year for Best Foreign Language film. The Oscar winning filmmaker is responsible for at least a dozen of the hundreds of pink films in the loose Groper Train franchise. What’s the distinguishing characteristic of a Groper Train film? According to Nadav Streett of the pink film distributor Pink Eiga, who along with Ayumu Oda and was on hand for a Fantastic Fest screening on Sunday of Takita’s 1984 Groper Train: Wedding Capriccio, “You have to have a train. And a preferably there is a pervert, who is hanging out groping women.”

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If you’ve already checked out our list of directors who made great remakes of their own films, you won’t think it that strange that David Cronenberg is reportedly involved in a remake of his version of The Fly, itself an update of Kurt Nuemann’s 1958 classic of the same name. And few movie bloggers could argue that it’s a bad idea given Cronenberg’s talent as a filmmaker.

Still, nobody can figure out any kind of logical motivation behind the change of heart, given that Cronenberg has always been against the idea of a remake (despite the fact that he was okay with remakes enough to do one himself). And most of us would really, really, really like to see the Goldblum brought back for the lead, as redundant as that may seem.

Check out what the film blogs are saying about this reboot idea after the jump:

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David Cronenberg stunned many with his decision to remake his own film The Fly, involving himself as writer and potentially director of Fox’s reboot effort. But this certainly isn’t a bad idea. After all, Cronenberg’s version is already a redo of Kurt Neumann’s 1958 sci-fi/horror classic of the same name, and it’s considered one of the best remakes of all time. It is very likely that he will now also deliver one of the best examples in which a director remakes his own film.

Sure, there are plenty of bad examples, especially when it’s a French filmmaker attempting to translate his hit comedy for Hollywood (see Three Fugitives and Just Visiting) or a Japanese filmmaker rehashing his own horror sequel in the States (The Grudge 2 and The Ring Two). And let’s not forget the unnecessary redundancy of Haneke’s Funny Games U.S.

But some of the greatest directors have made remakes of their own works that are at least as good, if not better than their originals. We take a look at five examples that Cronenberg could learn from — though he probably doesn’t need the help.
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When I first heard yesterday that Henry Gibson had died of cancer, I felt like I was alone in my mourning. But a day later, the film blogs have paid him due respect. And it being a slow news day, I’m devoting today’s Bloggery to this great character actor, despite the morbidity of having more than one obit/tribute roundup in one week.

I’m quite happy to see that many people appreciated the actor’s talent, though it makes me sad that he wasn’t given more and better work in his later years. Sure, he was still prolific in his TV and film appearances, but isn’t it a shame his role in Wedding Crashers is his most memorable of the past decade?

I remember the first time I saw and heard him in one of my now-favorite films Nashville. I couldn’t believe it was the same guy I primarily knew from Laugh-In and Joe Dante films. Maybe it was because I thought he resembled Teller of Penn & Teller, and so in spite of the villainous turns, I typically saw him as a sweet, cute, relatively silent and somewhat dopey-looking character actor. Also, his parts were usually pretty small.

In Nashville, though, he’s a central figure, one who feels far more real than any characters I’d seen him play before. Not that there’s anything wrong with his sillier roles. Check out this villain from an episode of Wonder Woman for why I truly love him. But the guy obviously had range, and I wish we could have seen more from him.

Check out some more memories of Gibson from other film blogs after the jump:
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Who didn’t love Patrick Swayze? Women fell for him in chick flicks like Dirty Dancing and Ghost while men (like myself) rooted for him in guy movies like Road House, Red Dawn, Black Dog, Point Break and others. A few kids might have even caught on through Tall Tales and The Fox and the Hound 2. And yet he never kept up the popularity he had in the 80s and early 90s. He certainly wasn’t that bad an actor, and his constant display of ridiculous hairdos wasn’t any worse than Nic Cage’s.

Wondering why he didn’t remain a big star to the end — was it the horse riding accident and subsequent depression/drinking? — isn’t of concern now, though. Since his death from cancer yesterday he’s at least received a lot of love from around the web, and we can hope that his soul has lingered, a la his character in Ghost, enough to notice. Remember that Sam was able to still use a computer thanks to the tricks he learned from Vincent Schiavelli’s subway ghost.

Check out what the film blogs are saying about his legacy after the jump and pay your own respects in the comments below:
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If all you remember of Patrick Swayze, who died yesterday of cancer at age 57, is his dance moves, you may be forgetting what an iconic tough guy he was. Sure, he started out specializing in arguably unmanly ventures like ballet and gymnastics, and many of his most memorable scenes show him as a limber romantic with thick, luxurious hair. But he was really best when he portrayed macho, domineering and otherwise badass dudes.

We grew up thinking of him first as a big brother type, thanks to movies like Red Dawn and The Outsiders. And even when he went on to sappier fare like Dirty Dancing and Ghost we accepted him as a man in control of every situation he was in. Later in his career, he would play more desperate and vulnerable characters, such as in Donnie Darko and the underrated 11:14. Still, we never got over believing that Swayze was the boss.

Below we spotlight ten favorite movie quotes that display the power commanded by his characters.
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The 3D revolution (or fad, depending on how you see it) has finally engulfed the classics. Specifically, the format has reached out to Alexandre Dumas’ swashbuckling adventure story The Three Musketeers, which Paul W.S. Anderson has co-scripted and will direct as a 3D feature.

On the same day we heard about this news, Harry Knowles of Ain’t It Cool News relayed a rumor that Iron Man 2 – and possibly the first Iron Man – could also get the 3D treatment, through a retrofit conversion process. Provided he didn’t simply mishear some kind of reference to Dumas’ The Man in the Iron Mask this would be another big step in the development of 3D cinema.

But is it still too early for all these 3D movies to be getting the greenlight? Sure, The Final Destination 3D did great business over the past weekend, but its 3D effects were terrible. And we’re still unsure whether or not Avatar will be the success that Hollywood hopes it will be.

Since TFD3D topped the box office, though, we’ve been hearing about more sequels and more old movies that we can expect to hit theaters in 3D over the next few years and beyond (provided they continue doing well). So, many a film blog has begun suggesting other movies to be fitted and retrofitted with the technology. Some of them are sampled after the jump and we encourage you to submit your own pitches in the comments section below.

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The news that Disney is buying Marvel for $4 billion has taken the entertainment industry by surprise. But while the deal itself came out of nowhere, it’s not too shocking that these companies would see the benefit of coming together. They each involve an enormous universe full of characters, stories and, most importantly, licensing opportunities. And at a time when original plot ideas are difficult to come by, this acquisition could mean a surplus of comic book and film synopses based solely on the possibilities of team-ups, battles and other crossovers between the Disney and Marvel worlds.

To give you an idea of where this deal could lead, we’ve come up with ten potential movies that we’d love to see come out of the Disney-Marvel relationship. Check them out after the jump.
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Though I didn’t include it on my list of 80s movies that need TV series, I could actually see a show based on Heathers being pretty cool. No, I’m not pulling your dick. And no, I didn’t have a brain tumor for breakfast. I’d continue the quoting by saying this isn’t just a spoke in my menstrual cycle, but I don’t have one of those. What I do have is a nearly twenty-year obsession with the movie as well as an odd exception when it comes to the idea of adapting it to other media. Certainly I don’t want anyone remaking Heathers on the big screen, but I’d be first in line for a campy musical version, and I’d read a comic book based on it (the thing would have to be published by Archie Comics, obviously).

Of course, I don’t expect this newly announced series idea to be very good. Network television is no place for a show based on Heathers. Not even Fox can get away with what the thing should be like. It wouldn’t be Heathers without all the swearing. And it couldn’t be as dark as it must be, either. However, provided there were some smart minds behind the idea, it could work quite well as an HBO or Showtime program. With a tone somewhere between The Sopranos and Weeds. The way I’m expecting it to be, as long as it’s on commercial television, the show may as well be called Mean Girls instead. Which would be a great idea, actually, if Tina Fey was behind it.

So, yeah, Heathers: the TV Show could be very, but it won’t be, and I see what everyone’s damage is over this news. But don’t worry, if it does ever end up on the air, it’ll soon be off and just as forgotten as the shows Ferris Bueller, Dirty Dancing and My Big Fat Greek Life.

Check out some blog responses to the news — imagine them recited in a montage of lunchtime poll answers — after the jump:
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The LA Times’ Culture Monster blog is reporting that, thanks to donations totaling $150,000 from the Hollywood Foreign Press Association and Time Warner Cable/Ovation TV, the Los Angeles County Museum of Art has reversed their decision to end their film program in October, and will now keep the program alive “at least through the end of the fiscal year in June 2010.” The Culture Monster post doesn’t indicate whether or not the LACMA’s Michael Govan and the film fan activist group Save Film at LACMA will go through with the much-hyped “popcorn summit”, scheduled to take place on September 1, to discuss LACMA’s film future, but apparently the Museum is newly committed to “thinking about the history and future of film as art as well as film’s increasing importance in the larger narrative of art history.”

Interesting side fact/road to conspiracy theory: David Segal’s recent NY Times profile of The Weinstein Company blamed Harvey’s acquisition of Ovation as one of TWC’s biggest missteps. Is Saving LACMA Film the Brothers’ way of backing up Inglourious Basterds’ big opening weekend with a big “we’re back” gesture? Maybe!

Twitter hasn’t “verified” her account so it could be a fraud, but here’s hoping that this really is Hollywood legend Lauren Bacall mixing it up on the Twitters. It’s plausible — if you condensed the bitchy, dishy voice of her autobiography into 140 character missives, this Twitterstream is what it would look like. My ten favorite moments of her Twitter career thus far:

10. When she posted the Twitpic of her walking out of Max’s Kansas City en route to Studio 54 to meet “Mr.Warhol and Mr.Nureyev”.

9. Her response to people complaining about her lit cigarette in said picture, spread out over five tweets, including this commentary on the perks of old age: “The good thing about being 84 is that I can smoke as much as I want, If I was smoking 2 packs a day on the set of To Have and Have Not…..when I was 19 and I am still around 65 years later I can continue smoking as much as i want.”

8.  “in LA to discuss with Mr. Scorsese his Sinatra biopic in the works, I wonder who he is going to cast to play me.Who would you guys cast?”

7. Bacall says she’s been offered a role in Quentin Tarantino’s new film opposite Christina Ricci, Christopher Walken and Dennis Hopper, in which she would play “the villainess.” “I have never been offered to play a schitzophrenic Russian heroin addicted Kidnapper’s mother before. haha.” Haha indeed.

6. Her first tweet: “I can’t get this God dam thing to work!”

5. Her bio, in which she plugs her autobiography and astutely namechecks her three best films: “Read my book By Myself and Then Some and watch my movies The Big Sleep, To Have and Have Not and Written on the Wind”

4. When she admits that her granddaughter made her watch Twilight. “she said it was the greatest vampire film ever.After the “film” was over I wanted to..smack her accros her head with my shoe, but I do not want a book called Grannie Dearest written on me when I die…”

3. …”So instead I gave her a DVD of Murnau’s 1922 masterpiece Nosferatu and told her, now thats a vampire film! and that goes for all of you! watch Nosferatu instead!”

2. When she calls out her 19 year old, scotch-addled grandson for hitting on a cater waitress “with Jayne Mansfield size breast and Liz Taylor eyes, men do scumble into the female flesh temptation so fast.”

1. When she then posts a twitpic of said grandson, looking like a complete tool.

Why are so many people interested in Quentin Tarantino’s favorite movies? Maybe because he’s been so influential or maybe because he’s had so many influences? I’m not sure, but a big topic on the film blogs today is a top 20 list QT came up with for Sky Movies. It’s not his favorite films of all time, however. It’s just his faves since 1992, the year he broke big with his directorial debut, Reservoir Dogs.

The list is filled with a lot of obvious choices, including new Asian cinema classics like The Host, JSA, Audition and his very, very favorite of the past 17 years (the rest of the list is alphabetical), Battle Royale. Surprisingly Oldboy is nowhere to be found despite the fact that QT is responsible for the film’s surprising win at Cannes five years ago. He picked two by Bong Joon-ho, why not two by Park Chan-wook? Is it because that would be too much like self-praise?

The biggest shocker appears to be his inclusion of Woody Allen’s Anything Else, and that’s the main reason people are talking about the list today. I was more stunned, though, by QT’s claim that Supercop has the best stunts of any film ever, including those starring Buster Keaton. I guess I’ll have to see that one again.

Anyway, since QT is known for his borrowing from his influences, I’m excited to see when his movies start pilfering from the likes of Dogville and Shaun of the Dead, both of which would be in my top 20 of 1992-2009, as well.

Check out what other film blogs are saying about the list after the jump:

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