It’s a pretty slow news day for movies, with everyone’s concentration on last night’s Tony Awards (congrats to Billy Elliot for making up for the Oscar snub eight years ago), but there is one bit of geek movie news that I’m really intrigued about: the hint of yet another Marvel comic book adaptation due in 2012. Among much information concerning the upcoming films Iron Man 2, The Avengers, Thor and The First Avenger: Captain America, Alex Billington at First Showing brought word this morning from a conference at the Sony Pictures lot that Marvel Studios will be announcing this secret title within the next few months.

What could it be? And what do you want it to be? Personally, I’m hoping that Scarlett Johansson has impressed the studio so much with her portrayal of Black Widow in the Iron Man sequel that she’s been given her own solo film. That is pretty unlikely, though, considering all the other ideas Marvel has floated over the years. So, will it be Doctor Strange? Luke Cage? Black Panther? S.H.I.E.L.D.? Another Hulk reboot tied to the Avengers movie? Let’s see what the film blogs think, after the jump:

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Should special effects only be used to service a film’s story, or is it perfectly fine for movies to feature extraneous spectacle? That’s a debate that comes up often among cineastes, but ultimately there’s room for both functions. Sometimes, in cases like Jurassic Park and The Matrix, both categories of effects may even faultlessly coexist in the same film. Yet there is one kind of effects employment that’s intolerable to all film-loving parties: the gratuitous exploitation for the sole purpose of brazen gimmickry. It’s this kind of effects work that goes beyond spectacle. It’s not so much a show as a show off.

For one example of this cinematic sin check out Karina’s review of The Curious Case of Benjamin Button, in which she references a scene featuring an inessential and irrelevant rocket launch in the background of an otherwise intimate moment between two lovers on a sailboat. Actually, that’s apparently only a minor citation in a “a film about the feat of its own whiz-bang, Frankensteinian digital imagery, drunk on its own accomplishment to an extent that feels quasi-ethical.” Hardly the first movie to commit such a crime, sure, but Benjamin Button seems to be the most thoroughly guilty exploiter since Forrest Gump (both films, incidentally, were scripted by Eric Roth).

So, in (dis)honor of Roth’s repeat offense, let’s take a short look at the worst exploitations of special effects in the last 15 years:
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Corey Mburu Wainaina is 14 year old aspiring video game designer, honor student and one of the world’s greatest players of Super Smash Brothers. I could think of no better commentator with whom to discuss either the state of the nation or the state of summer movies. But, um, luckily we veered off on a far less boring Hancock tangent.

STEVEN BOONE: You have an interesting background. Your father is from Kenya and your mother is an American. Another African-American with heritage in Kenya is now famous around the world. What’s his name?

COREY WAINAINA: Barack Obama.

SB: What do you think about his candidacy?

CW: I think it’s nice, but (whispers) it doesn’t matter because it’s lies.

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• The Happening had a much better opening weekend than expected (or is it feared?), coming in at third place with $32.1 million domestically, and actually beating The Incredible Hulk overall overseas. Meanwhile, Universal and Marvel insist that their superhero movie is a hit, even though it mad six million dollars less in its opening weekend than Ang Lee’s supposedly disastrous Hulk five years ago.
• Werner Herzog’s “don’t call it a remake” remake of Bad Lieutenant has found a female lead in Eva Mendes, who previously starred opposite new Bad star Nicolas Cage in Ghost Rider. So, to recap: Werner Herzog is restaging an Abel Ferrara movie in New Orleans, with the cast of a comic book movie about a guy on a motorcycle with a fireball for a face. Sounds about right.
• Everything is Fine, one of my favorite films from Cannes, won the grand jury prize in the New Directors sidebar at the Seattle Film Festival this weekend.

The thing I love about YouTube is that you can usually find what you’re looking for even if you don’t know it exists. Case in point: I wanted to find a clip of Hulk Hogan acting like The Incredible Hulk, and I found this gem of an action sequence from the Hulkster’s 1989 movie No Holds Barred. I guess I was one of the few people who missed this when it arrived in theaters just one week after Indiana Jones and the Last Crusade, but it was a busy time for action movies (who knew that 1989 was so much like 2008? You had Indy, Batman and Hulk all in the same summer!*) and despite opening at #2, the movie finished #64 for the year.

This weekend’s big opener, The Incredible Hulk, will likely fare better, though it similarly won’t be able to top the grosses of Indiana Jones and the Kingdom of the Crystal Skull and The Dark Knight (Batman came in first for 1989 — can he do the same in 2008?). And it probably isn’t be as much fun to watch as No Holds Barred probably is. Too bad it’s not available on DVD (yet Suburban Commando, Mr. Nanny and The Secret Agent Club are) and I can’t add it to my Netflix queue.

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• “If Iron Man was about America’s power overseas — specifically in Afghanistan, where much of the movie takes place — then the Incredible Hulk is about what happens to our soldiers when they come home,” writes Charlie Jane Anders in a long review at io9. It’s about the impossibility of transforming young men into “super-soldiers” and then expecting them to blend back in.” Related: Anders takes a look at superheroes who can’t have sex, including “Poor Rogue from the X-men. She’s got the cool Susan Sontag hair, and the leather jumpsuit, and the hot boyfriend… but she can never touch anyone.”
• Anders isn’t exactly ga-ga over New Hulk, but she calls Ang Lee’s version “disastrous.” At Bright Lights After Dark, Erich Kuersten vehemently disagrees. “Man, it’s a sad day on our bitterly defended-from-Galactacus earth when an Ang Lee Hulk film is just dismissed outright, and here it is a super and vastly underrated picture. Granted the CGI was a bit cartoony in the previews (I know I laughed at the time) but looked much better in real big screen life.”
• David Poland bottom lines it: “The truth is, for all its flaws, there is not a single frame of The Incredible Hulk that contains a fragment of the artistry that Ang Lee brought to Hulk. Of course, the film was too long and the psychodrama too thick for most people. But there was true aesthetic beauty. I hate to even pull this one out of the backpack, but Speed Racer? Genius in comparison. Every frame.”

• Glenn Kenny considers that “instant hit”, The Incredible Hulk. “If Edward Norton’s idea, if your idea, if my idea, of an intelligent mainstream genre picture won’t play with the money people, where the hell does that leave anybody’s idea of an intelligent mainstream picture, period?” He raises the issue to Norton himself, but ultimately comes closest to an answer via Jay-Z.
• “It’s not just that there were a lot of black and white movies last year — it’s that most of them were fucking awesome,” writes Rich at FourFour. “Among them: Perspolis, Guy Maddin’s Brand Upon the Brain!…Killer of Sheep (a 30+ year-old bit of brilliance that didn’t see official release till last year), I’m Not There, in part (and, my opinion, the b&w parts were the only ones worth watching), and Frank Darabont’s preferred cut of The Mist. But my favorite black-and-white flick of ‘07 and possibly of all time is Control.” What follows is a short treatise on that film’s humanity through black and white cinematography; there are a lot of screencaps.
• “When a filmmaker tells a story in such broads strokes, he or she does so because it allows certain ideas to be explored without exposition; when the scope of a story is already understood, already deeply seated in the audience’s understanding of narrative, those audiences are more perceptible to the details and nuances the filmmaker is able to explore and play with within that structure.” David Lowery considers Silent Light at /Hammer to Nail.

Peter Bart now has a blog, but that’s no reason for him to play nice with the blogosphere. In a post from earlier this week, he did his best to discredit any opinion about this impending Hulk movie that is not his own:

The dweebs may not like the effects. The star, Edward Norton, may not like the cut. And the blogosphere is steeped in bad buzz. So here’s what Universal decided to do about it Sunday night: Throw a party, invite 5,000 folks to a screening and celebrate The Incredible Hulk as an instant hit…The audience roundly applauded the set-pieces of CGI mayhem, as if to tell Comic-Con-ish doubters, “Get a life.”

Because of course, it’s better to manufacture the illusion of “an instant hit” than to actually make an attempt to appeal to the “Comic-con-ish” built-in fans of the brand. I could go on and on about how to claim that the reaction of an invited audience (probably predominantly made up of people on the Marvel, Paramount or associated payrolls) is more valid that the worries of a film’s core ticket buyers is unforgivably solipsistic and probably not in line with Variety’s ostensible mission to couch all value judgments in assessments of commercial viability. But instead, I’ll just quote at length from one of Bart’s more articulate commenters, Shawn Bowers, after the jump.

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On Saturday, Karina and I were discussing the upcoming Judd Apatow-produced comedy Pineapple Express, which I think is a waste of David Gordon Green’s directorial talent. Even more, I think it’s a waste of his writing talent, as it’s his first film where he’s not (credited as) one of the screenwriters. But, as Karina argued, a guy has to earn a paycheck now and again, and if him making this stoner comedy means I get to see more beautiful little films from Green in the future, then I should be happy for him and thankful to Apatow and Columbia Pictures. After all, great actors do this sort of thing all the time, so why shouldn’t it be okay for directors?

However, all too often a sellout film can leave a really bad taste in our mouths. Sometimes that one really commercial movie will harm a filmmaker’s career for a long time, whether because it’s a box office flop or because it ends up only being the first in a new, more-mainstream direction for the filmmaker (see John Woo, sort of). Hopefully Pineapple Express won’t be as bad as any of these famous disasters by otherwise great directors:

1. Alien Resurrection (1997) - It kind of seemed a dream come true that Jean-Pierre Jeunet (The City of Lost Children) would be wooed by Hollywood, especially for something as high-profile as the fourth Alien installment. But like many great foreign filmmakers, Jeunet was not nearly as great with an English-language script (nor is, apparently, Wong Kar-Wai). The movie looked really good, as had Jeunet’s French films, but overall the film was quite disappointing. It wasn’t necessarily Jeunet’s fault, but because he wasn’t fluent in English, it was likely difficult for him to communicate well with the actors and to see the faults of Joss Whedon’s script. Fortunately, Jeunet went on to make Amelie and has hopefully ignored the call of Hollywood ever since. …Read more

Standing outside the Paramount Theater in Austin, TX, opening night of the 2007 SXSW Film Festival, Paul and myself caught up with the producer of Confessions of a Superhero as well as a couple of the film’s stars, Superman and The Hulk.