In response to the leaked promo trailer for Werner Herzog’s Bad Lieutenant remake, some people are claiming the film doesn’t look like a Herzog work at all. This is surprising, especially since the scene with the old ladies reminds us of the Aguirre act-at-gunpoint legend. Plus, ever since we heard the news of this “reimagining” we thought it was too befitting for Herzog to rework Abel Ferrara. However, that had more to do with the idea that both filmmakers are batshit crazy, not that their films are really that similar.
Still, wouldn’t it be more exciting to see Herzog take on something even less appropriate for his style and taste? Inspired by the Twitter meme #wernerherzogremake, which began yesterday in connection with the Bad Lieutenant: Port of Call New Orleans promo, we’ve selected ten films we’d love to see Herzog redo just to see what his warped perspective would bring to these stories. While most of them are slightly tied to something he’s made in the past, each is still a completely unlikely project for Herzog to take on. But hopefully he’ll only see such implausibility as a challenge and actually go with one of our suggestions.
…Read more
The American Medical Association Alliance is unhappy with the appearance of a specific cigarette brand (American Spirit Lights) in He’s Just Not That Into You and is filing an official complaint to Warner Bros. and Time Warner over the issue. Brooks Barnes reports in today’s New York Times that the advocacy group doesn’t care that smoking is shown in a bad light in the romantic comedy (a character gets dumped for lying about quitting smoking, an offense seen as even worse than cheating); they think any acknowledgment of the act of smoking cigarettes — even if nobody is actually seen smoking onscreen, a la HJNTIY — could influence young people to start smoking.
The smoking in movies issue has brought about much debate regarding censorship in the last few years, but I say bring on the smoking ban. And then Hollywood can get creative with hints at smoking the way it used to use innuendo and other fun tricks to imply sex. The irony would be that in the past, cigarettes were used as such implicit hints (see Love is a Many-Splendored Thing; Chinatown and just about any Hays Code-era film). I also say that this AMA organization should be happy that Hollywood is at least promoting a healthier brand of cigs, such as the all-natural American Spirits. Last year’s underrated male fantasy rom-com Definitely, Maybe went so far as to devote an entire flirting scene to why people should smoke the longer-lasting American Spirits than other brands. Funny, I don’t recall any complaints from the AMA regarding that movie (though here’s an interesting complaint from the New Mexico Media Literacy Project, at least).
Although this complaint wasn’t the biggest film blog topic of the day (that might be whining about Leo DiCaprio’s Neverending Story remake), here are the few other responses I found around the net:
…Read more
Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.”
If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers have adequately supplied them with new kinds of love for the ages.
Just take a look at these ten films from the past decade. They may be full of cynicism, but they’re also filled with big-movie love, in their own way. If you can’t see the romance, then the problem is with you, not the movies.
…Read more
Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director.
Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week.
Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product.
…Read more
This review originally appeared during the Toronto Film Festival. Nick and Norah opens nationwide tomorrow.
From its animated notebook-scrawl opening credits to a final scene in which two people finally, effortlessly unburden themselves of a MacGuffin and just decide to be together, Nick and Norah’s Infinite Playlist (based on the young adult novel by Rachel Cohn and David Leviathan) seems to have been packaged in the hopes that the lightning that made Juno an unignorable commodity a cultural phenomena will strike twice. Nick and Norah isn’t quite the assault to the teen romance genre that Juno was, and that’s both good and bad. Michael Cera’s Nick, Kat Denning’s Norah, and their assorted pals drift fluidly between irony-as-defense and taking both themselves, and the idea of love, very seriously. The result is a film that’s much more of a traditional teen romance, but also a more honest one.
…Read more
I’ve seen Run, Fatboy, Run a couple times now (read my SXSW review), and I’ll still recommend it for Dylan Moran alone. But I’ll also agree that it’s far from great. In fact, it has a lot of flaws, most of which stem from the film’s uneven pace (perhaps fitting for a comedy about a marathon?) and the lack of a definite goal (ill-fitting for a comedy about a marathon — the movie has no real narrative finish line, only a literal one). I’ll even concur with the criticisms that it is awfully conventional, though I believe that by nature comedy has to be conventional in at least some way in order to function correctly.
However, the one thing I will not tolerate in negative reviews of Run, Fatboy, Run, of which there are many, is its being called a derivative romantic comedy. Derivative, sure; as I mentioned, it is conventional, and it is predictable, and it does seem very, very familiar, plot-wise (name me 10 classic comedies that aren’t). But romantic comedy? I can’t say exactly how many critics are labeling the film as such, but going by blurbs found on Rotten Tomatoes, there are at least seven, including “top critic” Desson Thomas of the Washington Post. Sorry, guys, but that’s just lazy reviewing from lazy critics who aren’t even paying attention to a film’s story, let alone displaying a basic sense of film study. I may not have seen enough films from before I was born (because, of course, no critic can see enough), but at least I know the definition of romantic comedy. The meaning is right there in the genre name, after all.
…Read more
