This has been quite the week for me to wish Nicolas Cage still made good movies. Besides crying over the fact that his latest sci-fi action thriller involving disaster prophesy was #1 at the box office despite being panned by critics, some of my unrelated experiences over the past seven days have coincidentally included the following: watching Wild at Heartfor the first time; learning from locals that Moonstruckwas partly shot in my neighborhood; discussing, at a party, not only the merits of The Rock, but also its qualifications for inclusion in the Criterion catalog. I’m now thinking I should stay home tonight and watch a marathon of Raising Arizona, Face/Offand Adaptation.
Or, maybe I can just lay back and think about how Disney’s The Sorcerer’s Apprenticeis going to be Cage’s return to quality. I know, I know, those of you who didn’t stop reading at my profession of love for The Rock are now wondering if I’m crazy. “Certainly this movie is going to be terrible,” you’re saying to yourself (as you plan your derisive comment). And besides, Herzog’s Bad Lieutenant“remake” shall be his next good film. Well, maybe, but after seeing the new production photos from Apprentice circulating the net (originating at JustJared), I’m prophesizing that the Fantasia-inspired film will be the Moonstruck to Bad Lieutenant: Port of Call New Orleans‘ Raising Arizona, or the Face/Off to Lieutenant’s Con Air, or the Adaptation to Lieutenant’s Windtalkers. Perhaps I am soiling my reputation by confessing my overextending appreciation of Cage’s career, but you have to respect a guy who allows himself to look and be so ridiculous for his art.
The rest of the film blogosphere’s responses to the photos after the jump:
Today’s news that Summit Entertainment has already chosen a release date for Eclipse, the third entry in theTwilight series, suggests the studio is in a hurry. With New Moon, the second entry in the series, currently in a production surge under the direction of Chris Weitz for a November 20 release date, Summit’s latest decision raises the bar even higher, by placing Eclipse right in the heat of summer 2010’s blockbuster season. What’s the rush?
Former New Line marketing chief Russell Schwartz, whose resume includes a steadily successful franchise about hobbits and rings, offers one piece of advice for the newbies at Summit: Slow down.
50 Centannounced a new production company, Cheetah Vision, which currently has eight scripts in development, including the company’s inaugural movie, The Dance,starring Nicolas Cage. 50 Cent will also see his directorial debut, Before I Self Destruct, released this year for free as a supplement to his latest album.
Despite the fact that the presidential inauguration typically occurs during Sundance, this year the festival took a more noticeable pause to watch Barack Obama sworn in yesterday. Sundance Institute’s Michelle Satterberg on the event: “I think we just didn’t care about it [before]. But this is different.”
Steven Soderbergh hosted a “secret screening” of his latest, The Girlfriend Experience. Check out Karina’s review here.
As Sony Classics and Lionsgate make their first festival buys, Summit is reportedly interested inI Love You Phillip Morris. Meanwhile, at Slamdance, North American rights to The Ante have gone to Panorama Entertainment. Other Sundance titles likely to sell soon, according to Anne Thompson: Shana Feste’sThe Greatest; Bobcat Goldthwait’s World’s Greatest Dad; the Ashton Kutcher-produced Spread; and the Anna Wintour doc The September Issue.
According to E!,the whole “subdued” thing hasn’t actually affected the swag.
Regarding the minor trend in Sci-Fi films this year, Moon star Sam Rockwell says, “I think in-camera effects are coming back full-throttle. I think people are getting a little sick of the glossiness of CGI and want to see old-school effects like they used to.” Hallelujah to that.
Another trend this year: romantic comedy. Or, is it more like romantic “dramedy”?
Hell hath no fury like Abel Ferrara underpaid for his intellectual property. In an lengthy interview with Nick Dawson for the FILMMAKER Blog (pegged to the long-awaited US first run of Ferrara’s 2005 film Mary, which starts at Anthology Film Archives on Friday), the filmmaker has more complaints about the Nicolas Cage-starring, Werner Herzog-directed remake ofBad Lieutenant. The big problem seems to be that rather than offer Ferrara and his crew a big (or, biggish), Ed Pressman and the producers of the remake simply paid Ferrara “twenty grand” and shut him out. My favorite quotes from the interview, taken out of context:
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.
Johnny Depp has officially confirmed he’ll be returning as Captain Jack in a fourth Pirates of the Caribbean installment. Additionally, at a special Disney event, in which the studio showcased it’s slate for exhibitors, Depp confirmed his role as the Mad Hatter in Tim Burton’s 3-D performance capture Alice in Wonderland and announced that he’ll play Tonto in Disney/Bruckheimer’s The Lone Ranger. Hopefully he’ll still have some room for more mature roles throughout his commitment to the Mouse House.
Other announcements at the Disney event included the moving up of Cars 2 from 2012 to 2011, at which time “Cars Land” will open in part of Disney’s California Adventure amusement park. Also, Nic Cage is on board for National Treasure 3 and Oprah Winfrey is voicing the mother of “the first black Disney princess” in The Princess and the Frog.
More returning franchises: Warner Bros. has officially announced the I Am Legend prequel, which will detail the “last days of humanity” section that you wished had just been in the first film.
I’m beginning to think Guillermo Del Toro has cloned himself. In additon to having literally a million film projects on his slate, he’s also found time to co-write a trilogy of vampire novels for HarperCollins.
At least Del Toro’s not also signed on to write and direct the remake of Tomas Alfredson’s new Swedish vampire pic Let the Right One In for returning horror producers Hammer Films. That would be Cloverfield’s Matt Reeves. By the way, Hollywood: can we take a break from the bloodsuckers soon? Vampires are starting to seem more over-employed than superheroes.
Oh, and finally, speaking of overdoing things, Steven Spielberg will possibly direct another movie about a boy and his alien friend. This one will be based on the 1968 sci-fi novel Chocky and sounds more Drop Dead Fred than E.T.
Yesterday I wrote of the news that Wanted director Timur Bekmambetov is helming an effects-heavy adaptation of Herman Melville’s Moby Dick. It’s not entirely shocking, but it does still seem like a cruel joke. More specifically, it sounds like something Jasper Fforde would jest about in his Thursday Next novels. Of course, the news came just as I’m in the middle of Fforde’s latest, First Among Sequels, in which Pride and Prejudice is turned into a reality TV show.
Although I’m not exactly well read as far as literary classics go, I’ve been wondering what other revered books (particularly those in the public domain) could be reworked as potential summer blockbusters. Obviously, there are certain sci-fi, fantasy and adventure novels that work, yet the fitting fictions of Verne, Wells, Burroughs, Dumas and others are already fodder for cheap movies with lots of action and/or special effects. Therefore, I’ve tried to limit my choices to those books that aren’t such easy candidates for a Memorial Day weekend opening.
1. The Divine Comedy by Dante Alighieri
Dante’s epic poem has inspired a few films over the years, including the hugely successful 1911 silent L’Inferno, but it’s about time for Hollywood to bastardize the otherworldly tale with lots of computer-generated visuals. Maybe you’re thinking that What Dreams Come already made some attempt at this, and it failed at the box office. Sure, but it was still an awesome spectacle of a film. Now, think of something similar starring Will Smith as Dante. And some rewrites to allow for more fight scenes (yes, even in Heaven). The poem will be divided into a trilogy of films, of course.
Despite the rule that audiences prefer comedies during tough financial times, the box office winner over the weekend was the thriller Lakeview Terrace with $15.6 million. Director Neil LaBute had his best opening ever with the film, and it’s certain to be his highest grossing film overall, so business-wise he’s making up for Wicker Man. Meanwhile, of the new comedies, My Best Friend’s Girl debuted well below expectations (#3 with $8.3 mil.) and Ghost Town seems to have described its auditoriums (#8 with $5.3 mil.). My theory is that audiences were for some reason craving period pieces this past weekend (see the excellent per-screen averages for new limited releases The Duchess and Appaloosa) and went into Lakeview Terrace thinking it was something else entirely.
Speaking of English period pieces, Nicolas Cage is set to star in one. But don’t suddenly think he’s back to Oscar territory, as the 14th century-set film reunites him with his Gone in 60 Seconds director, Dominic Sena. Titled Season of the Witch, it sounds like a cross between 3:10 to Yuma and Monty Python and the Holy Grail. Unfortunately, it’s likely to be nothing of the sort.
And finally, just because it also has to do with a period drama, and there’s not much else to get excited about in today’s trades, Miramax acquired the rights to Muchas Gracias, Bob Oppenheimer, which is set in Spain in the ’60s and deals with a miltary appeasement mission and a love affair. And yet somehow it’s likened to Saving Private Ryan.
Michael Douglas will portray Liberace in a biopic written by Richard LaGravenese (The Fisher King) and directed by Steven Soderbergh, which is only slightly less bizarre than the news two years ago that Nicolas Cage was to produce and star in a Liberace film written by the partners in parody Aaron Seltzer and Jason Friedberg (Disaster Movie). Soderbergh’s project will also involve his Ocean’s series producer, Jerry Weintraub, and Matt Damon, who will portray Liberace’s purported lover, Scott Thorson.
The second deal announced this week regarding a sci-fi version of The Fugitive: this one is titled Karma Coalition, and it’s different from the Tuesday-announced project, in that it involves the end of the world rather than time travel, and it’s written by the lead singer of an indie rock band (Shawn Christensen of stellastarr*).
Bangkok Dangerous opened with only $7.8 million over the weekend, but on the upside it still topped the box office chart and it was still better than Nic Cage’s last non-National Treasure movie, Next. Far more embarrassing is Babylon A.D.’s 58% drop and College’s 55% drop in their second week, as well as Hamlet 2’s 52% drop in its second week in an already disappointing attempt at wide release.
Perhaps the Bard will have better luck with Paramount’s announced adaptation of the young-adult novel Spanking Shakespeare, which actually has even less to do with the playwright than Hamlet 2 does.
The obvious pitch: Braveheart in Egypt. Will Smith is playing Taharqa, a pharaoh who led battles against the eventually successful Assyrian invaders, in The Last Pharaoh. Randall Wallace is currently writing a new draft of the project, and hopefully Smith is hard at work on the “Walk Like an Egyptian”-sampling plot song.
Just as the latest Coen brothers film is about to open, the previous is back in the news. Unfortunately, it’s because Tommy Lee Jones is suing Paramount for more than $10 million, which he claims he’s owed for No Country for Old Men.
September is often used as a dumping ground for movies, but this year it also appears to be a dumping ground for once-great or once-promising talents who’ve lost their way. I’ve taken note of at least 10 individuals (actors, actresses and a couple filmmakers) who have new films out this month (I’m counting the Labor Day weekend, too) who are due for a visit from the Ghost of Movies Past.
More specifically, these people need to backtrack to the ‘90s, which is when most of them did their last truly great work. Perhaps they need to take a look at that earlier work and remember what it was they used to do. Or perhaps they just need to get advice from the Coen brothers, who similarly hit a slump in the new millennium, but who are now back on track with a few more Oscars in hand and a new comedy, Burn After Reading, which looks to be more in line with their ‘90s classic The Big Lebowski than their 2000s missteps Intolerable Cruelty and The Ladykillers.
It could be argued that Cage made just as many worthless movies in the ‘90s as he has in the ‘00s. Also, considering his box office success with Ghost Rider and the National Treasure movies, plus his excellent Oscar-nominated dual role in Adaptation, it’s debatable that he’s “lost his way.” But it’s clear to me, at least, that he currently lacks any concern for the quality of his work, as evidenced by this month’s Bangkok Dangerous, which makes even Con Air look well crafted by comparison. In the ‘90s, Cage was doing much greater work for Scorsese, Lynch and even Michael Bay, and he won an Oscar for Best Actor, too. Unless he starts caring about the roles he chooses, he’s more likely to one day receive lifetime recognition by the Razzies than a lifetime achievement award from the Academy. Who he needs to work with again to get it back: the Coens; Uncle Francis (Ford Coppola); Scorsese; even Michael Bay would be good.
Or is it technically Ghostbusters IV? Columbia Pictures has hired writers Lee Eisenberg and Gene Stupnitsky, both of TV’s The Office, to script a new installment of the Ghostbusters series, which was previously thought to be hitting a final note with an upcoming video game (which Dan Aykroyd led us to believe was pretty much “Ghostbusters III”). The Hollywood Reporter claims that while the new sequel may involve the original cast, the main focus will be with a rookie cast of Ghostbusters.
Paul Bettany, who played a kind of precursor to Charles Darwin in Master and Commander: The Far Side of the World, will actually portray the famous evolution theorist in the biopic Creation (formerly titled Origin), scripted by Master and Commander’s John Collee and to be directed by Jon Amiel (The Core). Bettany’s real wife, Jennifer Connelly, will play Darwin’s wife/first cousin, Emma.
Albert and Allen Hughes will finally follow-up their 2001 period-set From Hell with the post-apocalypse-set Book of Eli, which will star Denzel Washington as a man “who must fight across America to bring society the knowledge that could be the key to its redemption.”
According to Variety, as long as male audiences aren’t too busy with the new football season or summer leftovers, Nic Cage and his latest crapfest, Bangkok Dangerous,should top the box office this weekend.
The first ever Summit Pictures Comic-Con panel, which was met with snores up until the Twilightsegment began, and then really began amidst continuous Beatlemania-like screaming from fangirls. Oh, and we learned a few new things about Alex Proyas’ Knowingand Paul McGuigan’s Push.
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.
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.
filmcouch-114
This has been quite the week for me to wish Nicolas Cage still made good movies. Besides crying over the fact that his latest sci-fi action thriller involving disaster prophesy was #1 at the box office despite being panned by critics, some of my unrelated experiences over the past seven days have coincidentally included the following: watching Wild at Heart for the first time; learning from locals that Moonstruck was partly shot in my neighborhood; discussing, at a party, not only the merits of The Rock, but also its qualifications for inclusion in the Criterion catalog. I’m now thinking I should stay home tonight and watch a marathon of Raising Arizona, Face/Off and Adaptation.
50 Cent 
Hell hath no fury like 
The Happening
