If you saw the Pixar vs. DreamWorks Animation cartoon last week, you probably thought it was making fun of the latter studio. For Wall Street, however, it might well have been an illustration of why DreamWorks is a better investment. All those movies about talking animals make for great merchandising opportunities. Toys, especially. And in addition to DreamWorks’ apparent ease in licensing its characters, the studios’ movies are, as the cartoon points out, simpler and obviously therefore more commercial.

The New York Times has an article by Brook Barnes in today’s Business section, in which Pixar’s latest film, Up, is said to be unpopular with both Wall Street and manufacturers because it follows Ratatouille and WALL-E in the studio’s supposed descent in commerciality. Sure, Up’s relative lack of licensing possibilities seems odd for Disney, which probably wouldn’t have been as successful had Walt and Roy never started the merchandization of Mickey Mouse 80 years ago, but wasn’t it enough that Pixar sold its soul with the very toy-friendly Cars (and Cars 2)? Besides, Up apparently does have talking animals, so there’s no reason for the money men to worry.

See what other blogs are saying about this story after the jump.

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Patton Oswalt’s starring role in Big Fan is a huge departure from what his fans will expect. It’s not a comedic role, but rather a dark turn as a fan so deeply obsessed with his beloved New York Giants that he exists solely to serve the team. Even when presented with the opportunity to change his life forever, he holds on to his bottom-rung job as a toll-booth attendant and continues down the same path he’s on at the start of the film.

We caught up with Oswalt at Sundance and he spoke about Dungeons & Dragons, how he’s over the fad of improvising, and why Crank is equal to Rachel Getting Married.
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Last week, Entertainment Weekly confirmed with Warner Bros. that the studio would be campaigning for a nomination for Heath Ledger specifically in the supporting actor category, putting to rest all the speculation and suggestions that he could contend for the Best Actor Oscar. Now all the awards pundits seem to agree that Ledger is a definite lock for a posthumous nomination. As for The Dark Knight’s hopes for other categories, though, it’s still up in the air as to how many nominations the comic book movie might garner.

While its predecessor, Batman Begins, only received one Oscar nomination, for Wally Pfister’s cinematography, there’s at least some likelihood that The Dark Knight could be recognized in as many as a dozen categories. That’s about as many as it’s legitimately eligible for, anyway, and in a year that keeps looking slimmer and slimmer in terms of Oscar-worthy pictures, there’s no reason to completely deny The Dark Knight’s full capability. Unfortunately, it’s a popular genre picture, so regardless of how critically acclaimed it is, and regardless of how the Academy has historically lauded similar titles, there will be a lot of doubt and debate concerning this movie’s prospects all the way up until January 22, when the nominations are announced.

Yesterday, John Foote of In Contention, commented on the increasing chances of The Dark Knight in such a lackluster Oscar season. In some ways, though, it’s not just about onetime Oscar hopefuls turning out to be hopeless; it’s also the constant problem of so much Oscar bait being held away from viewers and voters until the last possible second. Even those films that end up being fairly good can be disappointments after so much premature awards season hype. Sure, audiences have short attention spans and typically a film released midyear is easily forgotten by voting time, but a movie as memorable, as successful and as well-made as The Dark Knight can come out in the summer and easily be in the forefront of voters’ minds as an easy and deserving fallback. Therefore so many Oscar bloggers shouldn’t suddenly be surprised to see that The Dark Knight’s hopes for multiple Oscar nominations is “brightening” or “shaping up.” It’s always been a contender. Let’s break down its chances, category by category, after the jump:

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Until last year’s brilliantly directed Ratatouille, all of Pixar’s animated features could be summed up with one word (toys, bugs, monsters, fish, superheroes, cars). Then the more complex plot synopsis of “rat functions as a culinary Cyrano in a French restaurant’s kitchen” came along and ruined the studio’s tradition of simplistic scenarios. Fortunately, this year Pixar is back on track with Wall-E, a movie that can be summed up as being about, in a word, robots.

But in their pipeline they’ve got a couple sequels (Cars 2, Toy Story 3) and a couple multi-word synopses (2009’s Up and 2011’s The Bear and the Bow are, at the least, each described with two words: old man and fairy tale, respectively. Only 2011’s Newt could have been pitched using a single word: newts.

So, while Pixar seems like it currently has enough on their hands, I’d like to suggest a few more single-word pitches for animated films in order to get things back to basics:

1. Birds - They’ve given us a movie featuring a variety of bugs and a movie featuring a variety of sea creatures, so the obvious next place to go is a movie featuring a variety of birds. And since Pixar has already made a short about birds (For the Birds), they already have a starting point to jump off from.

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Two of this year’s Oscar winning films were sequels. And only two Oscar-nominated films are officially slated for sequels. But only one film fits both of these truths. The Bourne Ultimatum, which was a bit of an upset in its winning of three Academy Awards, including the shocker of Best Editing (which Christopher Rouse certainly deserved), will definitely be getting a follow-up, if this Variety article from Friday is correct (via Cinematical and Empire). The possibility of a fourth Bourne installment has been floating around for awhile now, despite the fact that Ultimatum so nicely tied up the series’ storyline and despite implications from Matt Damon and Paul Greengrass that continuing the franchise is unnecessary. But considering Ultimatum was a box office hit, and a critical favorite (it was one of the best mainstream films of the year) and has now won three Oscars, it seems like a no-brainer that Universal should want to keep Jason Bourne running.

The same can’t be said for that other Oscar-winning sequel, Elizabeth: The Golden Age. Although director Shekhar Kapur has said he wants Elizabeth to be a trilogy, it’s unlikely that the third film will be greenlit anytime soon. Of course, the plan is to revisit the story after another decade and things could well be different in ten years. Even if it weren’t likely to be a box office or critical success, it could be worth making just for the Oscar glory. I know that Alexandra Byrne wasn’t the first costume designer to receive Oscar nominations for work on two different films in the same series (Ngila Dickson and Richard Taylor were both nominated for two LOTR films), but if she suited Cate up again for a third film, she might be the first to have that honor of making it three. Meanwhile, Cate could also be the first actor or actress to be nominated three times for playing the same character.

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A lot of people have wondered how a brilliant film like Ratatouille could be denied a Best Picture Oscar nomination. Well, I’ve finally uncovered the conspiracy, and it involves food, obviously. See, Ratatouille celebrates great French cuisine. But apparently the Academy is in the pockets of the American fast food industry, because all five of the Best Picture contenders have some sort of connection to the greasy, fatty and popular foods that keep America overweight and complacent.

What, you don’t believe me? OK, well here’s the obvious ones: There Will Be Blood has a line about drinking milkshakes (the line is now such a popular catch phrase, I’m shocked McDonalds hasn’t yet given its customers a movie tie-in); Juno has a hamburger phone; No Country For Old Men has that slaughterhouse bolt pistol. Now here’s the less noticeable and the real stretch: Michael Clayton deals with a fictional company called U-North, which is pretty much supposed to be the real company Monsato, which got its start as the supplier of saccharin, caffeine and vanillin to Coca-Cola; and Atonement is the latest film to have a “small fry” actress nominated for an Oscar (yeah, that’s all I’ve got).

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Villains are oftentimes more interesting than heroes. So, it isn’t surprising when a villain becomes popular enough to warrant his or her own comic/movie/book/etc. The latest, according to IESB, will be Venom, one of the three villains featured in the horrible superhero sequel Spider-Man 3. For Marvel Comics readers, this isn’t that shocking. Venom received his own comic titles long ago, and disappointingly turned semi-good-guy vigilante. But will the movie spin-off be the same kind of water-down? If we look at the two ways a villain spin-off typically goes, it’s probable.

First, there’s the villain origin piece, which includes movies like Hannibal Rising, The Scorpion King, Wicked, the upcoming X-Men Origins: Magneto and of course the Star Wars prequels. They attempt to show how the evolution of a wronged person who becomes the iconic villain we’re familiar with. They try to make us sympathize, but usually they just come close to ruining the character. Rarely there is an origin storyline that makes us like the character even more, as in the case of The Godfather Part II’s flashbacks. Fortunately, we already witnessed the Venom origin in Spider-Man 3 and won’t be subjected to one in the proposed Venom movie.

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Here is my follow-up to last month’s question of what mainstream movie will feature on the most top ten movie lists. And the winner is … Ratatouille. Oh wait, didn’t I disqualify that one for being too obvious? No? Well, I should have. Yes, according to Movie City News’ Big Ass Chart (aka Scorecard) of critics’ top tens, the Pixar movie made it on to 51 best-of lists, making it the best-grossing best movie of the year. But maybe it wasn’t the most mainstream, if you define mainstream as studio-produced fare. Under that qualification Zodiac was the best mainstream movie of 2007, having been made jointly by Warner Bros. and Paramount and showing up on 70 best-of lists. Other Warner successes include Michael Clayton, which featured on 54 lists, Sweeney Todd, which received 44 mentions, Harry Potter and the Order of the Phoenix, which showed up on one list, and Letters From Iwo Jima, which showed up a little late on one list.

As far as those mainstream movies I predicted would feature heavily, Knocked Up (34 lists) ended up defeating Superbad (25 lists) — meanwhile, the third Judd Apatow movie of the year, Walk Hard, managed to get on one critic’s list — though both were actually behind The Bourne Ultimatum (28 lists), when it came to “average vote” (average numerical placement on the list). If we’re going by mainstream appeal (and if Karina is correct in her view of the film), then Juno was the best mainstream comedy of the year with 63 lists. Hairspray (13 lists) beat out its crappy musical siblings Across the Universe (7 lists) and Enchanted (8 lists). In addition to showing up on Richard Corliss’ list, Beowulf managed 3 other mentions. And Transformers not only showed up on a top ten list, it featured on 3! Of course, it’s more surprising that Spider-Man 3 made it on 4 lists. The greatest thing to happen, of course, was Manohla Dargis listing The Kingdom as one of her favorites. Joining her is Don Payne. If I had made a top ten list (instead of this thing), the film could very well have beaten Transformers. Oh well, at least nobody put the shocking blockbuster Alvin and the Chipmunks on their list … yet.

This is nothing like my top ten of 2007. I don’t not do top ten lists because I think they’re stupid, pointless or pretentious. I don’t do them because I never see enough films in the year to feel I’m adequately representing what is the best of the year. I don’t even feel I could represent my favorite of the year, since later on I’ll likely see some great films from this year that would qualify as my favorite(s). So, I’m just going to present some movies (or parts of movies) I really loved this year, and tell you what I loved about them. Because to me best of lists are merely a reminder of movies I still need to see, consider this a list only of things you might have missed and should definitely check out.

• Sunshine and The Last Winter - Two incredible science fiction stories that each ends rather disappointingly. Fortunately both are good enough until their denouements that they are completely recommendable to serious sci-fi fans and anybody else who wants to spark up some discussions about environmental issues and/or psychological implications of being out in the middle of nowhere.
• The Boss of It All - Not the most remarkable Von Trier film, but proof that he can make a simple comedy if that’s what he wants to do. I especially enjoyed it because I’ve had a passive boss who was exactly like the one in the film. Also, Ibn Hjejle has now been redeemed for her awful, out-of-place presence in High Fidelity.

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• Over the weekend, a few critic groups united in naming No Country for Old Men the best movie of 2007. St. Louis, Utah and Florida all love the Coen Bros. movie, as well as Ellen Page, Amy Ryan, Daniel Day-Lewis and Ratatouille. They managed to mix it up a little bit, though, so as not to be completely identical/redundant/unnecessary. I’d give the most hugs to the gang in Utah for honoring The King of Kong if only they hadn’t disappointed me with their choice for best actress runner-up: Amy Adams. If I was booked to attend that little film festival of theirs next month, I’d totally change my mind and boycott. People just don’t know the lengths I’ll go to complain about this Enchanted kudos crap.
• Not surprisingly, National Treasure: Book of Secrets topped the holiday weekend box office with $65 million. I would have gone to see it, but instead I hung out at JFK airport for hours on end Sunday night and watched parts of Con Air on my iPod. I’ve decided that Nic Cage is a lot better suited for the small-small screen. Too bad such a strong opening means he won’t be making direct-to-iPod movies any time soon. 
• Perhaps this is a sign that studios will stop trying to find “the next Harry Potter franchise” and begin trying to find “the next I Am Legend.”: Potter actor Robert Pattinson (”Cedric Diggory”) will star opposite Kristen Stewart in Catherine Hardwicke’s teen vampire flick, Twilight. Too bad the Hollywood Reporter already gave us this story two weeks ago; too bad vampire movies have already been a monstrous trend in Hollywood; and too bad studios will never stop looking for “the next Harry Potter franchise.”

While trying unsuccessfully to get over the whole Amy Adams kudos debacle (did you see she’s just been nominated for best actress by the Broadcast Film Critics Association?), I began wondering about year end lists and how many of them feature at least one obligatory mainstream movie. Typically its a funny but highly overrated comedy, like Borat, The 40-Year-Old Virgin or Little Miss Sunshine, sometimes its an action movie, rarely it’s a thriller or well-made horror flick.

So, I’m wondering what will be the most mainstream best movie of 2007, the one that features on the most year-end top ten lists. I’m so far discounting Juno, because it’s still in its little indie darling stage, and not yet a wide-release hit. Instead, I’m counting on either Knocked Up or even Superbad to take the honor. Already I’ve seen, thanks to Movie City News, both movies featured on a list made by a publication called the Georgetown Voice. But while I figured the former had more cred with critics, it’s the latter that has shown up on more lists by itself, including those of Victoria Times‘ Michael D. Reid and Artforum’s T.J. Wilcox.

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This week’s spin is all about the revisions. The 8:17 AM Monday version of David Germain’s AP writeup stressed an action star’s humiliation at the hands of an imaginary rodent, leading with the headline, “Cartoon Rat Beats Bruce Willis.” At some point in the morning, the imagery was softened somewhat; the 9:55 headline, “Rat Rules Box Office With $47 Million,” takes Willis’ defeat out of the equation.

Over at Variety, Pamela McClintock was quick to note in her Saturday morning report that Ratatouille’s $16.5 million first day was “the lowest first-day opening for a Pixar film since Toy Story 2 in 1999.” By Sunday night, when the animated film’s massive victory over all comers was apparent, McClintock’s revised report described the film’s weekend-long ascendancy to the top spot as a “simmer.” For her part, Nikki Finke’s preferred cooking metaphor is “roasted,” which seems like a bit of an overstatement.) Remember, on Friday McClintock’s coverage gave the Die Hard sequel the edge in the race for to the top spot.

Meanwhile, while his Hollywood Reporter pre-weekend coverage had given the Pixar film the edge, Gregg Kilday notes that if Live Free’s Wednesday and Thursday receipts are taken into consideration, “Die Hard ended the weekend with a five-day estimated cume of $48.2 million, a whisker ahead of Ratatouille’s three-day gross.” Proof that an almost-senior citizen can cook a rat–he just needs five days and, like, a crock pot.

More on these movies at Spout:

Live Free or Die Hard
Ratatouille
Toy Story 2

***”McClane, who has handily defeated effete Eurotrash in the past, is destined to find himself overshadowed this weekend by a Parisian rat with a refined palette.” Gregg Kilday can’t hold back the snark in reporting that Ratatouille is looking likely to beat Live Free or Die Hard at the box office this weekend.

***Variety seems to think the odds are with McClane. Pamela McClintock notes that Live Free’s $9 million opening day is not only Bruce Willis’ best opening since the mega hit Armageddon, it’s the best first-day tally for a Die Hard film, ever.

***What kinds of unsavory things did Marc Forster have to do in order to get two jobs in two weeks? The newly anointed Bond director is partnering with Mandate Pictures to develop Land of Roses , about “a suburban mother who, with the support of her fellow outraged townspeople, attempts to exonerate a hardworking Middle Eastern father falsely imprisoned as a terrorist by Homeland Security.”

***Speaking of unsavory, Jim Carrey has been hired to star in and produce Sober, a Universal-based comedy poking fun at addiction. According to Variety, hilarity ensues when “a hard-partying software exec [is] assigned a court-appointed Sober Buddy to keep him under control during a critical business trip to Las Vegas. A perfect plan falls apart when the Sober Buddy (Carrey) falls off the wagon.” Delightful!