Over the weekend, Wanted had a 100% fresh rating on Rotten Tomatoes.com. It’s since gone down to 81% (at the time of this writing — and with top critics it’s down to 67%), though that’s still pretty good for a movie that initially looked like just another Matrix knockoff.

But will the good reviews make for great box office? Last night, while viewing the latest trailer in a theater with some friends, I mentioned that Wanted was receiving great reviews. Nobody believed me at first, and then they didn’t care; they still thought it looked terrible.

Good reviews rarely help an action movie, and bad reviews rarely deter audiences from seeing them. However, if we look at the top 5 most critically acclaimed action movies, it’s clear that people do often prefer a good action film to a bad one. The next 5, on the other hand…

1. The Lord of the Rings: Return of the King (2003)
   Rotten Tomatoes’ “T-Meter” score: 94% (top critics: 98%)
   All Time Domestic Box Office Rank: #9 ($377 million)
   Sample Critic Quote: “The film event of the millennium.” (Richard Corliss, Time)
   My Analysis: In terms of both reviews and gross, it is possible that, yes, this final LOTR film was the film event of the millennium only three years in. It even won the Oscar for Best Picture, as well as ten other Academy Awards. However, we do have a few hundred years left, and Corliss’ assessment is likely to be challenged one of these centuries.
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• 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.

Can he do this? Is this legal? How does he do it? What interview questions does he ask? What does he tell publicists he’s going to do? Will any of them ever let him do it again?

All of those questions, and surely more, are sparked by Jamie Stuart’s latest video, In Spring. Described as a tribute to Bunuel and Dali, it’s a highly stylized document of Stuart’s visit to the New York offices of embattled distributor THINKFilm to interview Werner Herzog about his latest film, Encounters at the End of the World. Except Herzog is playing “Gunter Merkwurdigeliebe, THINKfilm Chairman, CEO and President.” Except I don’t think he knows that. After the interview, Stuart’s voiceover inform us, his “crew took part in snorting lines of Grade A Bolivian cocaine with the executives,” an experience which led them to conclude that “the film industry is as solid and secure as ever.” Well, after all that, who wouldn’t?

Watch it here.

Now that we know, courtesy of Stu at Defamer, that Werner Herzog’s remake of Abel Ferrara’s Bad Lieutenant is not so much a remake as it is like a new entry into a franchise, a la the James Bond movies, we at SpoutBlog wonder what other ’90s indie favorites could be continued with similar yet “completely different” installments.

I remember back in the day thinking that Clerks should be a franchise, each film focusing on a different crappy job experience, but now that Clerks II has come and gone, that idea will likely never be realized. Of course, the concept of sequels unrelated to the original aren’t new — just look at any sequel title substituting the number 2 (or II) with the word Too. But nevertheless, here’s a few suggestions for other crazy foreign auteurs to take into consideration:

1. Kids - Looking back, Larry Clark’s then-shocking debut is pretty tame. Nowadays you see teens doing worse things on commercial television. So, how about someone makes another Kids movie every decade or so to expose us to the latest generation of teenagers and how appallingly different they are from the previous generation. It would be like Apted’s Up documentaries, except it wouldn’t follow the same people.
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• Paramount doesn’t seem to be completely shutting down indie arm Paramount Vantage––they don’t seem to have given up on producing smaller-ticket prestige films, unlike Warner Brothers––but they are “folding the marketing, distribution and physical production departments of Paramount Vantage into the larger studio,” and eliminating three jobs in the process.
• Legendary 70s exploitation film I Spit On Your Grave is getting a remake. The producer of the remake cites the continuing meaninglessness of the rating system as the remake’s commercial imperative: “After seeing what was done with an R rating on films like ‘Saw’ and ‘Hostel,’ we think we can modernize this story, be competitive with what this marketplace expects and not have to aim for an NC-17 or X rating.”
• Independently produced films are expected to “dominate activity in the late summer and early fall,” as SAG continues to issue waivers to producers not affiliated with studios as strike talks drag on. Also: Werner Herzog’s Bad Lieutenant has a July 8 start date!
• Brian DePalma will make a film about The Boston Strangler. Yawn.

“Did everybody see the film?” Abel Ferrara cried at the jump of the Cannes press conference for Chelsea on the Rocks, compulsively putting on and pulling off a pair of black wraparound sunglasses, sipping on a can of Budweiser. Several journalists coughed in response. Said Ferrara: “What is this, avian flu? Everybody cough, yeah. We got a Howard Hughes complex as it is.”

The press conference as a whole was a woozy, half-sickly, half-populated affair…maybe typical of anything involving Ferrara meeting journalists, but definitely emblematic of the Festival itself at this point. But! But! Ferrara twice talked about Werner Herzog’s alleged Nicolas Cage-starring remake of his Bad Lieutenant––once in response to a question from a reporter, and once just because he apparently felt like he needed to vent.

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I’m running off to the airport shortly and will be away from the computer until Friday afternoon Cannes time, but here’s a quick look at the news coming out of the festival as of Thursday morning:

• Un Conte de Noel, Surveillance, and The Pleasure of Being Robbed have been picked up. The former two were bought by IFC; the latter two deals were all but confirmed before the festival began.
• David Lynch’s production company is putting together ALejandro Jodorowsky’s next film. Described as a “metaphysical spaghetti gangster film,” it’s set to star Nick Nolte, Asia Argento, Marilyn Manson and Udo Kier. Also, Lynch himself will allegedly team with the so-hot-right-now (tee hee) Werner Herzog on My Son, My Son, “a horror-tinged murder drama based on a true story,” set for a “guerrilla-style digital video shoot on Coronado Island” in March.
• People are, apparently, freaking out over Waltz with Bashir, that Israeli animated doc that I wrote about yesterday.

• You know how sometimes, things happen and you can’t really believe they’re happening, and you wonder if maybe you’re in a dream, or if maybe the universe folded in on itself and you got caught in some kind of warp in space and time that allows things to happen that wouldn’t be allowed on an ordinary plane? Um. Werner Herzog is remaking Abel Ferrara’s Bad Lieutenant. With Nicolas Cage in the Harvey Keitel role.
• Tommy Lee Jones will “adapt, direct, produce and star” in a feature based on Ernest Hemmingway’s Islands in the Stream.
• James Garner, who is 80, is said to be recovering from a stroke. He had surgery on Sunday and his publicist says it went “great.”

• With the Tribeca Film Festival beginning on Wednesday, Winter Miller analyises the festival’s “7 year itch” for Variety. “Logistics and that intangible thing known as the “festival experience” might well improve, but seven years after its founding as a call to bring the city together post 9/11, the fest is still seeking a clear identity,” hew writes. Perhaps the first step would be to do something about the fest’s institutional indifference to quality in its obsession with quantity, which Miller alludes to: “Unlike fests with mandates to screen what they perceive as the absolute cream of the crop, Tribeca wears its number of international and first-timer participants as a badge of honor.”
• Martial arts epic Forbidden Kingdom grossed almost $21 million over the weekend, enough to take the top box office slot ahead of Forgetting Sarah Marshall; the latest widget from the Apatow factory earned a not-great, not-terrible $17 million. Also: the tactic of opening Expelled wide in rural and suburban communities paid off, as the doc made $3.1 million (and almost double per screen what Morgan Spurlock’s docu-farce Where in the World Is Osama Bin Laden? managed in a smaller run), in spite of almost universally negative reviews.
• A former TV exec and a producer of Bend it Like Beckham have teamed up to launch Filmaka, a “a digital entertainment studio that sponsors worldwide contests for aspiring filmmakers.” According to The Hollywood Reporter, the first contest will be judged by a panel of filmmakers including Werner Herzog, Wim Wenders and Neil LaBute.