Someone commented on my list of Avatar comparisons last week noting that such a practice could be done with any movie. He/She is correct, though it doesn’t really matter since the point of that exercise was to respond to the certain expectation that came with that film’s hype that it would be unlike anything we’ve seen before. With the teaser for Christopher Nolan’s Inception, however, the similar claims of derivation are simply a normal thing we film bloggers to do trailers, particularly those that give us little clue as to what their movie is about.
But deep in our hearts, we all trust Nolan, right? We don’t think he’d make a movie that people would say is just like The Matrix or Identity or Fight Club or Jurassic Parkor whatever. Just like the illusionists in The Prestige and also like Batman, I guess, Nolan has a lot up his sleeve. The fact that nobody knows anything about the plot of Inception makes its trailer even more cryptic than it would seem otherwise to just the regular moviegoer who doesn’t follow script reviews and production developments. I wish I knew so little about Avatar — and about pretty much any upcoming movie, for that matter.
Check out what the film blogs are saying about the new Inception trailer after the jump.
I’m historically not a DC Comics defender, but the company could really use some support today following the very weak reception of an announcement that DC and Warner Bros. have some new film ideas up their sleeves. Sure, the news isn’t that exciting, but that may be The Hollywood Reporter’s fault for making it sound like DC is “storming the film world.” Compared to Marvel, DC’s plans still seem more like a light breeze, and therefore it’s understandable that the geeks and fanboys are disappointedly bitching today.
But as much as I’d love to see a Flash or Aquaman movie, neither of which I’m expecting anytime soon, I have to continue giving DC & WB credit for having given us the first and last great superhero movies. Supermanis still the film to which comic book adaptations are compared, and it’s more than 30 years old. And now we also have The Dark Knightto judge every other movie against. Marvel has more films to show for themselves, but they actually have fewer great adaptations and therefore fewer films I’d call classics. EvenIron Man, in my opinion, fails to hold up as well as a number of DC films.
So let’s just be patient. It might be worth it. Or, feel free to keep up the whining and ridiculing in the comments section below. First, check out what the film blogs have to say after the jump:
Leonardo DiCaprio as Martin Luther King Jr.? Hey, as long as the Telegraphis reporting that Jamie Foxx is “in the running” to portray Frank Sinatra in the upcoming Scorsese-directed biopic about the singer/actor, why not also suggest Leo for the just-announced MLK bio from producer Steven Spielberg? Surely the actor is anxious to work again with his Catch Me if You Can director. And seeing as this is pure Oscar-fodder, and seeing as blackface can get people nominated these days, playing the civil rights leader may just be what the three-time Oscar nominee (and loser) needs to pull off in order to win the Academy Award.
Okay, we’re done with the jokes. Obviously this MLK biopic is super serious and needs to be cast as such. So, who will actually follow in the footsteps of former MLK portrayers Paul Winfield, LeVar Burton, James Earl Jones, Robert Guillaume and Jaleel “Urkel” White? Actually, Foxx might be a legitimate candidate for this one. But we’re going with an actor who has already played the civil rights leader. To find out who we pick for the lead role and the rest of the likely supporting characters, check out our completely serious casting suggestions after the jump.
Here’s some late breaking news today: Martin Scorseseis set to direct a biopic about Frank Sinatra, which is being scripted by Phil Alden Robinson (Field of Dreams). That’s about all that’s known so far, as the project is in early stages. Apparently Scorsese, whose past biopics include The Aviator(Howard Hughes) and Raging Bull(Jake La Motta), has been quietly developing this one for a few years and just recently secured both the life and the music rights.
Now it’s up to us bloggers to fill in the rest with speculation about what it will be called, what it will include and, most importantly, who will play the lead. Most writers are guessing that Leonardo DiCaprio will land the part, but I’m hoping Scorsese concentrates on the later years so that Dennis Hopper can reprise his portrayal from the Australian film The Night We Called It a Day. After all, isn’t it about time Scorsese directed Hopper? They were both in the Scorsese-produced Search and Destroy, but that’s just not enough. At least let Hopper play the old Sinatra after DiCaprio (or Robert Pattinson) plays the young version. And obviously Kate Beckinsale gets to reprise her role as Ava Gardner from The Aviator, right?
Also: if the title is anything other than The Chairman of the Board, I’m not going to see it. So what if it’s too close to a movie starring Carrot Top? It’s time to take the name back for Ol’ Blue Eyes!
Okay, let’s see what the rest of the net is saying about this exciting project: …Read more
Many critics will no doubt rip apart Robert Pattinson’s performance as Salvador Dali in Little Ashes this weekend, but the truth is that it’s a surprisingly good portrayal of the artist. That is to say that given our expectations, combined with Pattinson’s own celebrity, added to the fact that anyone would look ridiculous sporting Dali’s signature mustache (even Dali), the Twilight actor does as well in the role as is possible. Is the performance Oscar-worthy? Certainly not, but it is deserving of some level of praise.
Pattinson’s Dali follows a long tradition of surprisingly good portrayals of iconic figures. Movie stars are constantly cast as famous persons they barely resemble, and often it’s difficult to shake off our identification with the player in order to accept him/her as the depicted individual. Some of these performances are better than others, and most have been honored by the Academy, but each actor and actress listed below either initially seemed like a wrong choice for the respective part or he/she was at least understood to be taking on a difficult task in attempting to portray such a familiar personality. …Read more
At least three SpoutBlog commenters will be happy to learn that Notoriousscreenwriter Cheo Hodari Coker is next adapting Bill Adler’s book on Run DMC, Tougher Than Leather. Two weeks ago, when I responded to the Biggie Smalls biopic with a list of 5 Dead Rappers Who Need a Biopic, I excluded Run DMC’s Jam Master Jay on account he was a DJ, not a rapper. But SpoutBlog readers nevertheless pointed out my error and suggested he and his group get a biopic anyway.
Another screenwriter goes from one bio to another: A Mighty Heart scribe John Orloff is next scripting the Ian Fleming film Fleming.
Two of this year’s Oscar nominees are teaming up for a movie that certainly won’t garner them future Academy attention: Slumdog Millionaire scribe Simon Beaufoywill rewrite the existing draft of the Amy Adams vehicle Leap Day, a lame-sounding romantic comedy that should appropriately only play in theaters on February 29, 2012 and then disappear for at least four years.
Who knew Bicycle Thieves screenwriter Suso D’Amico is still alive? The 94-year-old Oscar-nominee will receive the WGA’s inaugural Jean Renoir Award next month and will be celebrated at the WGA Awards, held February 7. Thank goodness she can finally belong to a club that would honor Diablo Cody before recognizing one of the greatest female screenwriters of all time.
Twenty years late, Ron Howard’s Parenthood is being adapted into an hour-long TV series for NBC. The network previously aired a short-lived TV version of the film in 1990 (it starred a young Leonardo DiCaprio in the young Joaquin Phoenix role), but this new show will have more time to focus on parenting challenges in “this post-Facebook, post-iPod world.”
In her Variety column today, Anne Thompson contrasts Sam Mendes’ star-studded, Oscar-positioned, somewhat tonally revisionist adaptation of Revolutionary Road with the work and life of author Richard Yates. Thompson reminds what unlikely source material this is for a re-teaming of the beautiful young stars of the highest grossing film of all time, relating in detail the plight of “the long-suffering Yates,” who lived in “squalid” solitude, never sold more than 12,000 copies of a single novel, and hated the only produced film his writing ever had anything to do with.
In his day, Yates was asked by its editor to stop submitting fiction to the New Yorker, a publication which had no use for the writer’s “mean-spirited view of things.” In describing how Mendes and crew revised the material to make its protagonists “warmer and more sympathetic” (and chose to take their dreams seriously where Yates drily mocked and criticized), Thompson implies that Hollywood has no use for the acid element of Yates’ view, either.
“No pictures, no attacking — none of that,” warned the junket manager to the online press, who had been assembled for an hour in the tiny Waldorf Astoria ballroom, awaiting their audience with the director and four top-billed stars of Revolutionary Road. The admonition was necessary because two of those stars were of such grand stature, and more so in combination with each other — you may remember, they once pretended to fall in love in front of a green screen whilst standing atop a scale model of a famous boat — that of course the average bottom-feeding, basement-dwelling blogger could be forgiven for forgetting that they were in fact human beings asking questions of other human beings, and not bloodthirsty animals driven feral by the scent of fame.
Not long later, they appeared, as if out of nowhere (although it should be noted that from my seat, I didn’t have a clear view of the door). Kate Winslet, remarkably slim and tan. Leonardo DiCaprio, rocking the wispy facial hair of a posturing adolescent. Kathy Bates, looking just like Kathy Bates, but more so. San Mendes, being British. Michael Shannon, wearing the vague stare of a time clock puncher. The warning, it turned out, was unneeded. The talent cast such a glow on the assembled press that all thoughts of aggression were easily pushed aside. How wonderful life is, now that potential Oscar contenders are in the world!
Money makes the world go round, and it also drives the plot most of the films of Danny Boyle. Slumdog Millionaire, as you can guess by the title, is no different. It greases the wheels of Boyle’s plots, and forces characters to do things they wouldn’t otherwise even consider. Unfortunately cash doesn’t really play a part in 28 Days Later or Sunshine, probably because zombies don’t really shop that often, and the Sun doesn’t take credit cards, but every one of his other films has a pile of money at the heart of the story. …Read more
You might have seen the “Don’t Vote” PSA featuring Hollywood celebrities ranging from Leonardo DiCaprio to Jonah Hill attempting to use reverse psychology in an effort to get lazy, apathetic Americans to register and then take part in this year’s presidential election. It’s a bit long for something so urgent and potentially influential, but it’s cool that so many unrelated famous people came together for something so important. Anyway, the guys at MagicHugs.com have now re-edited some of the footage from that PSA to create their own campaign regarding the films of Nicolas Cage. And while I doubt Leo or even Jonah appreciate being made to appear so critical of their peer’s career choices, it’s pretty funny. The only thing I don’t understand, though, is if I’m supposed to come away thinking I should watch Nic Cage movies. After all, the other “Don’t” PSA is meant to actually get me to vote.
Also related to the “Don’t Vote” PSA is another political ad featuring another movie star who represents that apathetic young American demographic the other celebrities are speaking out to. Joseph Gordon-Levitt has created his own little commercial for Barack Obama, a candidate he considers to be that rare politician who isn’t “bullshit.” Levitt claims not to be a Democrat or Republican, and he admits he’s never really cared about anybody running for president before, but he just had to tell us that he’s “feeling pretty strongly on this one.”
I wonder which ad will speak most to the typically indifferent, the one from the famous people who simply want people to get up and vote, no matter how potentially uninformed they may be, or the one from an apolitical peer who wants others to notice a specific hopeful’s distinction.
Two movies, both adapted from novels, open in theaters tonight. One is a children’s fantasy, the other is a political thriller. One poses intriguing questions about the nature of authority and value of disobedience, the other is a tangled collection of tired clichés.
City of Ember tells the story of two children becoming heroes thanks to their suspicion and rebellion. While it may seem strange to make a children’s movie that encourages young people to defy authority, there are psychological tests that suggest it may be a really good idea. The Human Behavior Experiments, a little known documentary by Oscar winner Alex Gibney, provides interesting insights.
Body of Lies, the latest from director Ridley Scott, stars Leonardo DiCaprio and Russell Crowe as dueling CIA agents. Does the film have what it takes to overcome the deadly Iraq-fatigue that has destroyed so many of its comrades at the box office? Or is it another example of Ridley Scott taking super-charged material and delivering a super-flat film?
io9 has confirmed an earlier report that Ridley Scott will direct an adaptation of Brave New World, Aldous Huxley’s classic dystopian future novel. Scott says that Leonardo DiCaprio approached him about adapting the book, and it looks like he will star in the film as well. This is exciting news; not only does it herald the return to science fiction for the director of Blade Runner and Alien, it also means that Leo, who is working on a live action adaptation of Akira, has two dystopian future projects in progress.
Brave New World is one of my favorite books, and Blade Runner is one of my favorite movies, for many of the same reasons, but I’m still having trouble getting excited about this news. Scott’s work on Blade Runner was amazing, but that was 26 years ago, and he hasn’t made a science fiction film since. I’d like to believe he can jump back in the saddle, but considering what he’s been up to for the past two and a half decades, I have my doubts. While the quality of Scott’s filmography is admittedly debatable, it’s safe to say he’s made some pretty terrible movies, Kingdom of Heaven and A Good Year come to mind. Even his films that have some potential end up falling short. American Gangster, while not a bad movie, felt like only like a sufficient execution of a script Scorsese would have passed over in the nineties.
Even if Scott can get his Blade Runner mojo working again for Brave New World, it could still be really bad. …Read more
On October 28 the world will plunge into an irradiated nightmare, littered with the wreckage of civilization, overrun by savage super mutants. Or, my world will be, anyway. Next month is when the hotly anticipated new video game Fallout 3 will be released. It’s been over a decade since the first Fallout, a now classic post-apocalyptic role-playing game. How has the franchise maintained such a devoted fan base? Simple: great story, great characters, great setting, and killer cinematics.
The games have always been deeply indebted to post-apocalyptic cinema. The opening sequence of the first game is almost identical to the one in The Road Warrior, and the similarities don’t end there. As the Max Payne movie is (hopefully) about to prove, there is an elegant solution to the problem of video game movies sucking: make movies about games that are already steeped in cinematic influence. In other words, a Fallout movie would kick serious ass. It would have a similar feel to classics like The Road Warrior, but Fallout has its own brand of dark humor and retro-futurism.
After the jump, I take a crack at assembling a dream cast for such a film. I’m going to stick to characters from the first game, where it all began. Chime in with your own picks in the comments.
The Obama Movie: so inevitable, it’s as if it is already among us. You know that Will Smith will play Obama and that Oliver Stone will write and direct. John Williams and Quincy Jones will tag-team the musical score, a soulful, all-American gumbo that samples gospel, Aaron Copland and snap music. Kerry Washington will essay Michelle Obama.
No, Steven Spielberg will direct, with Chiwetel Ejiofor as Obama, same composers. Twelve Nobel, Pulitzer and Oscar winners write the screenplay. Special afro effects by Industrial Light and Magic. Spielberg intercuts between Barack cumming and Blackwater snipers pinned down in Mosul.
Danny DeVito, who also had the honor of directing Williams in an audience-limiting black comedy, will make up the difference here by helming the young-adult-geared period piece The True Confessions of Charlotte Doyle. Morgan Freeman, Pierce Brosnan and Atonement’s Saoirse Ronan star.
Speaking of Father’s Day, once-huge screenwriting duo Lowell Ganz and Babaloo Mandel are the latest to rework Touchstone’s Charlie Kaufman-by-way-of-Zach Helm-wannabe reflexive musical Bob: The Musical.
Quentin Tarantino’s Inglorious Bastards is on the fast track towards its eventual post-theatrical Showtime run with trade-reported rumors that Brad Pitt and Leonardo DiCaprio could costar. Let me just put it out there that Williams would be a great addition, as well.
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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I’m historically not a DC Comics defender, but the company could really use some support today following the very weak reception of an announcement that DC and Warner Bros. have some new film ideas up their sleeves. Sure, the news isn’t that exciting, but that may be The Hollywood Reporter’s fault for making it sound like DC is “storming the film world.” Compared to Marvel, DC’s plans still seem more like a light breeze, and therefore it’s understandable that the geeks and fanboys are disappointedly bitching today.
Here’s some late breaking news today: Martin Scorsese 
At least three SpoutBlog commenters will be happy to learn that Notorious screenwriter Cheo Hodari Coker 
In her Variety column today, 
