Jay and Mark Duplass are abandoning the mumblecore movement for Hollywood. And not only will they work with a bigger budget, they’ve also acquired an Apatow-appropriate cast featuring John C. Reilly, Jonah Hill and Marisa Tomei. The untitled comedy (formerly called Safety Man) will have us believe that Tomei actually birthed Hill and still looks as good as she does.
Let the Mamma Mia! copycats come forward: New Line has bought the rights to the Off-Broadway musical Rock of Ages, which features a ton of 1980s rock anthems from bands like Journey, Twisted Sister, Foreigner, REO Speedwagon, Styx and Mr. Big (see the full list of musical numbers here). Despite the title, though, there’s apparently no Def Leppard. Start growing your mullet now and we’ll see you on opening night for some heavy metal sing-a-long goodness.
While Hollywood is abuzz with news of one female director being canned from a franchise, Fox 2000 has signed on another female director to take over a franchise. Of course, it’s only Betty Thomas and the movie she’s been hired for is Alvin and the Chipmunks: The Squeakuel (yes, that’s the real title), so it’s still not that exciting a step for womankind.
Brad Pitt will star in The Lost City of Z, a true story in which he’ll play Col. Percy Fawcett, an explorer who allegedly served as the inspiration for both Indiana Jones and Kent Allard (aka The Shadow). James Gray is directing.
We still have to wait almost a year before seeing Benicio Del Toro as The Wolfman, since Universal pushed back the horror remake from April to November. Also, Ridley Scott’s Nottingham is delayed until 2010.
Did you know that legalizing gay marriage could turn the economy around? Well, don’t take my word for it, but Neil Patrick Harris presents a pretty convincing argument…in song. He and a whole slew of big name comedic actors, including Jack Black, John C. Reilly, Allison Janney, Maya Rudolph, Andy Richter, Margaret Cho, Kathy Najimy, Rashida Jones and Craig Robinson, have united for an exclusive video from FunnyorDie.com that functions as a hilarious and tuneful protest of Proposition 8. And the songs are well-written too, since the whole thing was conceived and written by five-time Oscar-nominated composer Marc Shaiman. Hairspray director/choreographer Adam Shankman directed it.
In additon to supporting a cause, the video provides another surprising reason for me to regain interest in Jack Black. He’s terrific as Jesus here, and thanks to other recent online performances, such as his silent turn as Ben Franklin, I have a newfound enjoyment of his talents. Maybe he can somehow limit his career to the web and I can ignore all the obnoxious films he’s made in the last decade.
Anyway, check out the Prop 8 musical after the jump.
The Promotionis such an insightfully hilarious and beautifully bittersweet movie about the American and human spirits that I wish Steven Conrad had always been directing his scripts. Conrad previously wrote The Weather Man and The Pursuit of Happyness, both of which can be felt here as less evolved ancestors; structurally they’re quite the same, while The Promotion shares some of the offbeat tone of Weather Man and a lot of the heart of Happyness. But there’s a story in The Promotion that is far more universal, relatable and familiar, which makes this one much, much funnier and much, much more sympathetic.
And certainly Conrad’s ability to balance the sweet and the salty, as a director, is responsible for most of the film’s success. One scene in particular exemplifies the movie best: John C. Reilly, as the new-to-Chicago “Richard”, sits opposite four supermarket executives, interviewing for a promotion to be a full-on store manager, and he’s just had to defend how his Canadian-ness caused him to miss an employee prank. Conrad keeps a close-up shot on Reilly as the actor fluctuates expressions that communicate, non-verbally, a plea of innocence, then ignorance, then stupidity, then insanity, then doubt, then back to innocence again. The combination of comedy and pathos that comes out of this lengthy close-up and perfectly tuned performance, which is broken up by a couple reversals to the executives and which is permitted more time and attention than most films nowadays allow any single moment, is the most brilliantly thoughtful thing I’ve seen done in this kind of movie in a very long time.
Steve Conrad took two actors known for broad comedy, Sean William Scott and John C. Reilly, and cast them in something dark and fresh. The Promotionplays to their funniest qualities, but also allows for some darker moments of real middle-class anxiety and racial tension. I talked to writer/director Steve Conrad about some of his decisions for this unusual comedy and how it all began in a grocery store parking lot.
The first half of this week saw a drought as far as new trailers are concerned. But when it rains it pours, and by the end of day Thursday the internet had received a relative monsoon of debuts, including the now-official release of the Sex and the City trailer, which Karina prematurely peeked at last Friday, and another awesome ad for Iron Man.
But the truly noteworthy trailers had to be those for three eagerly anticipated comedies, two of which we are seeing for the first time. First, there’s The Love Guru, which stars Mike Myers as his first originally created comedic character in more than ten years. Unfortunately, it kind of makes me wish he would just keep making Austin Powers movies. Maybe I just don’t get it, and maybe I should just accept that a Myers comedy is less about it and more about him. But it doesn’t look that funny. And I’m a person who can appreciate the making fun of Extreme and the parodying of Bollywood and the ridiculing of little people.
The biggest box office news of Christmas weekend was the utter failure of Walk Hard: The Dewey Cox Story. Sony launched a wide and varied marketing campaign, the film was fairly well-reviewed (it earned a 78 percent “Fresh” rating on Rotten Tomatoes), and yet, it only managed to gross $4.1 million over three days. That’s $1,547 per screen, so assuming tickets sold at an average $10, and each theater hosted roughly five screenings a day, that adds up to about 10 ticket buyers per show per screen. This would be a crap opening under any circumstances, but it’s expecially crap considering that it ends a long winning streak for producer Judd Apatow. So what went wrong? Let’s go to the blogs:
Nikki Finke quotes a rival studio exec with the snipe, “This shows Judd Apatow is not god. Sometimes you can be too clever for your own good.” Her own diagnosis? “The problem was the movie skewed overwhelmingly male, but that guy audience went for action-adventure and sawe National Treasure and I Am Legend instead.”
Leonard Klady at The Hot Blog offers six possible reasons for Walk Hard’s failure. Perhaps most damning is #6: “A running series of “Cox” jokes that were barely funny the first time, much less the 3000th time… unless third graders are suddenly in the market for mock biopics.”
Pajiba offers the Apatow fan perspective: “WalkHard is that movie everyone thought would do really well, but that no one actually wanted to see. Indeed, my Apatow credentials are pretty well known, but I just had no interest. None. I guess the Apatow backlash now begins.”
Jeff Wells is one of many who blames John C. Reilly’s lack of star power. It didn’t seem to be a problem for Seth Rogen or Michael Cera, but in any case: “It’s funny, clever, sharp, absurdist..what happened? My theory in a nutshell: (a) people figured that a spoof of Walk The Line and Ray wasn’t vital enough to see in theatres, and (b) John C. Reilly isn’t a star, doesn’t put butts in seats.”
Finally, for Defamer, it all comes down to anatomical detail. “Judd Apatow gets his first taste of box office disappointment–something that surely could have been avoided had the marketing better highlighted the film’s frequent close-ups on a flaccid penis.” Meanwhile, sister site Idolator seems personally offended to have been embroiled in said penis-less marketing, branding Walk Hard the “Snakes On A Plane of parody biopics, the ‘hey let’s make a movie comprised of references to old bands and then aggressively market it to music bloggers because surely they will BRING THE NEWS TO THE PEOPLE’ flick.”
Honestly, I didn’t want to write anything about the ending of There Will Be Blood until the film is in theaters. The holidays are tough enough–I really, really don’t need the spoiler brigade on my ass to add to it. But this post by Craig Kennedy reminded me of a conversation I had earlier today with Paul and Kevin, and I have to get the thought out before it goes away. Noting that P.T. Anderson’s film currently carries a 100% Fresh rating amongst Cream of the Crop critics on Rotten Tomatoes, Craig writes:
I’m only skimming reviews until I finish my own, but one theme keeps popping up in review after review: On the surface, There Will Be Blood is unlike anything Anderson has done before…It’s like watching a runner sprinting at the limit of his ability when, just before the finish line, he kicks into another gear you didn’t even know he had and he surges ahead of the pack. It’s exhilarating.
It’s true that Anderson’s previous films were essentially ensemble pieces, which There Will Be Blood is not. And as a director, Anderson seems to have matured, in that he seems less interested than ever in showing off. But “unlike anything Anderson has done before”? I don’t think that’s true at all.
Above: John C. Reilly, in character as Dewey Cox, performs Amy Winehouse’s “Rehab.” I still think Walk Hard looks terrible, but I have to admit, he’s got the hip swivel down… [Via The Playlist]
OMG, it IS real! The A.V. Club taste tests Brawndo: “I can’t see slamming one of these, or even drinking more than one a year, but it beats the flavor of most energy drinks. And you’re doing your part to help the world of forgotten film with every can.”
Whitney at Pop Candy points out that Strange Culture, my favorite doc from Sundance 2007, is premiering on the Sundance Channel tonight at 9:35 ET. I’ve written about the film here and here.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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Did you know that legalizing gay marriage could turn the economy around? Well, don’t take my word for it, but Neil Patrick Harris presents a pretty convincing argument…in song. He and a whole slew of big name comedic actors, including Jack Black, John C. Reilly, Allison Janney, Maya Rudolph, Andy Richter, Margaret Cho, Kathy Najimy, Rashida Jones and Craig Robinson, have united for an exclusive video from FunnyorDie.com that functions as a hilarious and tuneful protest of Proposition 8. And the songs are well-written too, since the whole thing was conceived and written by five-time Oscar-nominated composer Marc Shaiman. Hairspray director/choreographer Adam Shankman directed it.
The biggest box office news of Christmas weekend was the utter failure of 
