One thing you have to love about the fanboys, they’re always a glass-half-full kind of people. Whenever one of their beloved movies gets ripped apart by critics, they point to the box office results with pride. Critics are meaningless, they remind us, because Transformers and the Pirates of the Caribbean sequels and the Star Warsprequels made so much money. And now, with their Watchmenhaving received both mixed reviews and a relatively disappointing opening weekend, they’re still defending its success to the end. Drew McWeeny of HitFix said it best in a Tweet this morning: “Box-office talk is absolute death to me. I just don’t care. It got made. I liked it. I win.”
McWeeny may not exactly be the king of the geeks, but he does inadvertently represent them today. Because whether or not Watchmen has technically underperformed (or “failed” in any way) should not be their concern any more than the negative reviews (or our list of reasons claiming the comic adaptation is unnecessary). But if they are going to use the defense that the box office doesn’t matter, they aren’t allowed to celebrate grosses this summer when Transformers: Revenge of the Fallenreceives bad reviews yet still has a strong opening.
More on the debate on the topic of Watchmen’s success or failure after the jump.
I apologize if you thought this was going to be an action-packed fan-made movie, a la Batman: Dead End. But I’ve loved these Mac/PC parodies for some time now, and I couldn’t help myself. This one not only bridges the past weekend with the upcoming weekend by including Hellboy and returning DC toy Batman, but it also seems to unite all the summer 2008 superheroes, save for Hancock, who apparently does not have an action figure tie-in.
Of course, this one doesn’t beat the best of the series, which came earlier this year with the Iron Man/Batman showdown (eventually we’ll similarly need each a Quicksilver/Flash movie showdown, an Aquaman/Namor showdown and a Plastic Man/Mr. Fantastic showdown), but it’s fine until this winter, when we’ll probably get another “I’m a Marvel; and I’m a DC” clip featuring The Punisher and one of the many characters from Watchmen (toys for which hit stores in January — unfortunately no comparative Comedian action figure, it seems).
Corey Mburu Wainaina is 14 year old aspiring video game designer, honor student and one of the world’s greatest players of Super Smash Brothers. I could think of no better commentator with whom to discuss either the state of the nation or the state of summer movies. But, um, luckily we veered off on a far less boring Hancock tangent.
STEVEN BOONE: You have an interesting background. Your father is from Kenya and your mother is an American. Another African-American with heritage in Kenya is now famous around the world. What’s his name?
COREY WAINAINA: Barack Obama.
SB: What do you think about his candidacy?
CW: I think it’s nice, but (whispers) it doesn’t matter because it’s lies.
Last night, the trailer for Disaster Movie premiered on MySpace. You can watch it after the jump. But considering it’s completely lacking in disaster spoofage, I’ve instead reserved the top spot for Disaster!(aka Disaster the Movie!), a claymation feature from a few years back that appears to have done much better with the disaster genre parody. Plus, it co-stars Motley Crue (in clay form, that is).
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.
The thing I love about YouTube is that you can usually find what you’re looking for even if you don’t know it exists. Case in point: I wanted to find a clip of Hulk Hogan acting like The Incredible Hulk, and I found this gem of an action sequence from the Hulkster’s 1989 movie No Holds Barred. I guess I was one of the few people who missed this when it arrived in theaters just one week after Indiana Jones and the Last Crusade, but it was a busy time for action movies(who knew that 1989 was so much like 2008? You had Indy, Batman and Hulk all in the same summer!*) and despite opening at #2, the movie finished #64 for the year.
Walden Media is planning a huge blitz to promote their fall Bill Murray starrer City of Ember at ComicCon. The current plan is to “re-create the mythical city depicted in the film on a private two-car train that will transport 25 members of the media on a 2½-hour journey to the convention’s San Diego locale,” accompanied by the film’s director, screenwriter and producer.
Expect to be inundated with “Hulk Smash!” headlines on come Monday morning. Variety kindly suggests that The Happening “will likely play like a traditional horror film rather than a broad summer title”––read: $20 million opening––leaving the by all accounts imperfect but not that bad Hulk to reel in mid-five figures.
Sony Pictures Classics, the only studio other tha IFC to seriously stock their shelves last month at Cannes, has announced another acquisition: Palme D’or winner The Class.
“If Iron Man was about America’s power overseas — specifically in Afghanistan, where much of the movie takes place — then the Incredible Hulkis about what happens to our soldiers when they come home,” writes Charlie Jane Anders in a long review at io9. It’s about the impossibility of transforming young men into “super-soldiers” and then expecting them to blend back in.” Related: Anders takes a look at superheroes who can’t have sex, including “Poor Rogue from the X-men. She’s got the cool Susan Sontag hair, and the leather jumpsuit, and the hot boyfriend… but she can never touch anyone.”
Anders isn’t exactly ga-ga over New Hulk, but she calls Ang Lee’s version “disastrous.” At Bright Lights After Dark, Erich Kuersten vehemently disagrees. “Man, it’s a sad day on our bitterly defended-from-Galactacus earth when an Ang Lee Hulk film is just dismissed outright, and here it is a super and vastly underrated picture. Granted the CGI was a bit cartoony in the previews (I know I laughed at the time) but looked much better in real big screen life.”
David Poland bottom lines it: “The truth is, for all its flaws, there is not a single frame of The Incredible Hulk that contains a fragment of the artistry that Ang Lee brought to Hulk. Of course, the film was too long and the psychodrama too thick for most people. But there was true aesthetic beauty. I hate to even pull this one out of the backpack, but Speed Racer? Genius in comparison. Every frame.”
Glenn Kenny considers that “instant hit”, The Incredible Hulk. “If Edward Norton’s idea, if your idea, if my idea, of an intelligent mainstream genre picture won’t play with the money people, where the hell does that leave anybody’s idea of an intelligent mainstream picture, period?” He raises the issue to Norton himself, but ultimately comes closest to an answer via Jay-Z.
“It’s not just that there were a lot of black and white movies last year — it’s that most of them were fucking awesome,” writes Rich at FourFour. “Among them: Perspolis, Guy Maddin’s Brand Upon the Brain!…Killer of Sheep (a 30+ year-old bit of brilliance that didn’t see official release till last year), I’m Not There, in part (and, my opinion, the b&w parts were the only ones worth watching), and Frank Darabont’s preferred cut of The Mist. But my favorite black-and-white flick of ‘07 and possibly of all time is Control.” What follows is a short treatise on that film’s humanity through black and white cinematography; there are a lot of screencaps.
“When a filmmaker tells a story in such broads strokes, he or she does so because it allows certain ideas to be explored without exposition; when the scope of a story is already understood, already deeply seated in the audience’s understanding of narrative, those audiences are more perceptible to the details and nuances the filmmaker is able to explore and play with within that structure.” David Lowery considers Silent Light at /Hammer to Nail.
Peter Bart now has a blog, but that’s no reason for him to play nice with the blogosphere. In a post from earlier this week, he did his best to discredit any opinion about this impending Hulk movie that is not his own:
The dweebs may not like the effects. The star, Edward Norton, may not like the cut. And the blogosphere is steeped in bad buzz. So here’s what Universal decided to do about it Sunday night: Throw a party, invite 5,000 folks to a screening and celebrate The Incredible Hulk as an instant hit…The audience roundly applauded the set-pieces of CGI mayhem, as if to tell Comic-Con-ish doubters, “Get a life.”
Because of course, it’s better to manufacture the illusion of “an instant hit” than to actually make an attempt to appeal to the “Comic-con-ish” built-in fans of the brand. I could go on and on about how to claim that the reaction of an invited audience (probably predominantly made up of people on the Marvel, Paramount or associated payrolls) is more valid that the worries of a film’s core ticket buyers is unforgivably solipsistic and probably not in line with Variety’s ostensible mission to couch all value judgments in assessments of commercial viability. But instead, I’ll just quote at length from one of Bart’s more articulate commenters, Shawn Bowers, after the jump.
In what may be the greatest, albeit most exploitive, TV spot I’ve seen in awhile, Robert Downey Jr., as Tony Stark (aka Iron Man), shows up at the beginning of a new commercial for The Incredible Hulk. Of course we’ve known about the cameo for some time, mainly because nothing is safe from the “spoiler nation” of the Interweb, but most of us were probably not expecting to actually see it for real until the movie arrives in theaters (it opens Friday). I guess this is smarter than hiding the cameo after the end credits, a la Nick Fury (Samuel L. Jackson) in Iron Man, in order to somewhat maintain denial even during the film’s theatrical run.
Hopefully TV audiences won’t be fooled into thinking Downey has a bigger part in the film. In a way, the cameo seems to lift the prestige and appeal of The Incredible Hulk, yet it also really seems like a cheap ploy to get us excited about an otherwise crappy looking comic book movie. Still, it wouldn’t be the first time a movie unfairly sold itself on a cameo appearance. Highlander II: The Quickening(”starring” Sean Connery) comes to mind, for example. Actually, now that I’m comparing it to that film, I may be even less interested in The Incredible Hulk than before. Fortunately, if there’s any more to the Stark cameo than visible above, someone will put it up on YouTube for those of us who skip it.
It’s not always worthwhile to jump on rumors like this, but the idea that Brad Pitt could be cast as The Mighty Thor in Marvel’s upcoming movie adaptation (due June 4, 2010) is too good an idea to be left alone. The word comes from Latino Review that Marvel is simply tossing the actor’s name around, though apparently the role hasn’t even been suggested, let alone offered, to Pitt.
Unfortunately, it’s hard to imagine that Pitt would be interested in playing a superhero. He’s still a big enough star and a talented enough actor that he might feel he’s above such a thing. However, if he wants to continue making great films like The Assassination of Jesse James by the Coward Robert Ford, which don’t make him much cash, he’s going to need some mainstream hits, and he could do much worse for a paycheck than wear a cape and helmet and fight evil as the Norse God of Thunder.
So, I’ve come up with five reasons for Pitt to grab Thor’s hammer. Hopefully he’ll find the list convincing.
Lucrative Franchise Potential - Without the security of more Ocean’s movies and the chance that your star power will wane (it’s happened to your friends and peers), now is the time to suit up for a comic book movie. It’s not like this would be that different from your only other recent hits, Troyand Mr. and Mrs. Smith, neither of which can be proven to have been successful because of you.
Now that we’re sure there’s an Avengers movie on the way, and that it will be tied into the movies Iron Man, Iron Man 2, Thor, Ant-Man and Captain America (full title: The First Avenger: Captain America), it’s time to begin speculating on what other characters will be cast to fill out the team’s roster.
In addition to the four characters starring in their own preceding titles, as well as cameo-man Nick Fury, there’s a good chance we’ll see Vision and Black Widow rounding out an even six team members. Yet I speculate on the basis that I haven’t picked up an issue of any Avengers title in at least a decade.
Still, I’m excited about the film and have hopes of seeing at least one of my favorite, deserving superheroes end up on the big screen in The Avengers since none of them will likely get their own movie. Plus, a bunch of them allow for more Marvel movie tie-ins. So, I ask that Marvel Studios feature a lucky seven teammates and showcase at least one of the following come 2011:
Ms. Marvel – Neither a favorite nor too familiar a character for me, but seeing as comic book movies are so lacking in female superheroines these days, I feel The Avengers needs at least one other woman besides Black Widow. And as a bonus, there could be a post credits cameo from Anna Paquin, as X-Men’s Rogue. Then, if there’s ever an X-Men 4, or if Rogue gets to appear in a Gambit movie — or god forbid her own solo release — the girl could finally fly (at Ms. Marvel’s expense, of course). …Read more
When I saw the title of Olly Richardson’s rant on The Empire Blog asking if CG has killed our imaginations, I presumed he meant filmmakers’ imaginations and how special effects are less creative when done with the ease of computer graphics. But no, he’s really talking about our imaginations, meaning me and you and everyone we know. I’d never given it too much thought, but maybe modern audiences are really losing their ability to believe at the movies:
We never used to be so picky. If somebody watches the original King Kong or any of the works of Ray Harryhausen, you will never hear them complain about how the skeletons were a bit jerky or that the big ape’s fur didn’t blow realistically when he was climbing the Empire State Building (if they do complain, however, you should feel free to shoot them on the grounds of wrongness and philistinism). You just watch the film, acknowledge that what you are seeing couldn’t possibly exist, admire the artistry it took to create it and choose to believe it anyway. That’s what suspension of disbelief is: ignoring the protests of your eyes and more logical parts of your brain in order to enjoy a good story.
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
One thing you have to love about the fanboys, they’re always a glass-half-full kind of people. Whenever one of their beloved movies gets ripped apart by critics, they point to the box office results with pride. Critics are meaningless, they remind us, because 
The Happening
Walden Media is planning a huge blitz
“If Iron Man was about 
Glenn Kenny
Peter Bart now has a blog, but that’s no reason for him to play nice with the blogosphere. In 
