>>            

Read These First
One Hand Clapping
By Chris Ryall
RSS Channel
For anyone with an RSS Newsreader
The Old Site
From the Movie
Film Columns
Film Flam Flummox
By Michael Dequina
From Print to Screen
By Matthew Savelloni
The Good, The Bad & The Ugly
By Matt Singer
International Intrigue
By Alison Veneto
Lights! Cameras! Zombies
By John McLean
Nocturnal Admissions
By D.K. Holm
Strange Impersonation
By Kim Morgan
Trailer Park
By Christopher Stipp
Theater
From Screen to Stage
By Kevin Hylton
DVD
DVD Diatribe
By D.K. Holm
DVD Late Show
By Christopher Mills
Poop Shoot Entertainment
Game On!
By Ian Bonds
The Inner View
Celebrity Interviews
Kentucky Fried Rasslin'
By Scott Bowden
Mail Shoot
By Us and You!
Squib Central
By Joshua Jabcuga
Toy Box
By Michael Crawford
TV Pilot Review
By Chris Ryall
TV Recommendations
By Chris Ryall
Movie Poop Shoot Web Comics
Spook'd
By Stevenson and Damoose
Brat-Halla
By Stevenson and Damoose
Power Hour
By Odjick and Austin
Enchanted Mayhem
By DeBerry and Cunard
Femme Noir
By Mills and Staton
Captain Capitalism
By Brad Graeber
Comics
All Ages
By Tracy (& Shelby & Sarah) Edmunds
Comics 101
By Scott Tipton
Preachin' from the Longbox
By Britt Schramm
Should It Be a Movie
By Marc Mason
Music
Music for the Masses
By M.C. Bell
Books
Back to Movie Poop Shoot
Home - back to the Poop Shoot


Week of March 13, 2006

You can take "The Peacemaker," "Deep Impact," and "The Tuxedo." We'll take "Gladiator," "American Beauty" and anything else that didn't suck.

Emilio's 17

Yeah, like he needed all that overpriced crap anyway...

This lawsuit's going to make 'House Party' look like 'House Party Two!'

I told you... don't call me SENIOR!!

Maybe this is all a bad dream too?

Thanks Sharon, but I think I'll wait until this one comes out on DVD (so I can freeze frame of course)

There is absolutely, positively no nepotism in Hollywood. None.

You're good, baby, I'll give you that... but me? I'm magic.

This band will go down like a lead balloon

Well, Goodbye there Children...

They can't sell the Capitol Records building! What will be left to destroy in the next crappy 'end of the world' movie?

Same old Courtney - still sponging off Kurt

Panic on the streets of Austin

You're a fat, Botox faced, wig-wearing ninny! Oh yeah? Well your band has a dirty H addict as a lead singer!

Black Sabbath, Blondie, Miles Davis, The Sex Pistols, Lynyrd Skynyrd Enter Rock Hall



01 THE BREAK-UP $39.17
$12759/av

02 X-MEN: THE LAST STAND $34.02
$9159/av

03 OVER THE HEDGE $20.65
$5170/avg

04 THE DAVINCI CODE $18.61
$4953/avg

05 MISSION: IMPOSSIBLE III $4.68
$1756/avg

06 POSEIDON $3.49
$1283/avg

07 RV $3.20
$1469/avg

08 SEE NO EVIL $2.04
$1607/avg

09 AN INCONVENIENT TRUTH $1.36
$17615/avg

10 JUST MY LUCK $855K
$892/avg









 


 


 

MOST WANTED DVD's MASTER LIST (138 titles as of 11.12)

The Alamo ('60, d: John Wayne -- restored version, when and if it happens)

The Adventures of Robin Hood (1938, d: Michael Curtiz, Errol Flynn, et. al.); "I've heard that Warner Bros. is giving The Adventures of Robin Hood a million dollar restoration and will re lease it in 2003 for its 65th anniversary." -- Paula Vitaris

Advise and Consent (1962, d: Otto Preminger, w/ Murray, Laughton, Pidgeon, Ayers);

Anna Karenina (1997, d: Bernard Rose, w/ Sophie Marceau, Sean Bean, James Fox);

Around the World in 80 Days (not taken from 35mm elements, but original 70mm, 30 frame-per-second, Todd-AO roadshow version);

The Awful Truth ('37, d: Leo McCarey, w/ Grant, Dunne, Bellamy);

The Bachelor and the Bobby Soxer ('47, d: Garson Kanin, w/ Grant Loy, Temple, Vallee, Collins);

John Frankenheimer's Black Sunday ('76,

Sam Peckinpah's The Ballad of Cable Hogue ('70, w/ Robards, Stevens).

"How about Gillo Pontecorvo's The Battle of Algiers (1967). As far as I know, this classic title is a hassle to find even on VHS. (There's a copy for sale on Amazon.com, but it's used and the seller is asking asking $100!).

Peter Glenville's Becket ('64 w/ O'Toole, Burton, Gielgud, Wolfit);

Betrayal('83, d: David Jones, w/ Irons, Kingsley, Hodges -- best Pinter ever put on screen);

Russ Meyer's Beyond the Valley of the Dolls ('70)

Blow Up ('66, d: Michelangelo Antonioni, w/ Hemmings, Redgrave, Miles); >;

Otto Preminger's Bonjour Tristesse ('58 -- ditto);

Joseph Losey's Boom!('68 - only on VHS, but desperately needs to be letterboxed);

Borsalino ('70, d: Jacques Deray, w/ Belmondo, Delon);

Bringing Up Baby ('38, d: Howard Hawks, w/ Grant, Hepburn, Ruggles);

Bring Me the Head of Alfredo Garcia (1974, d: Sam Peckinpah, w/ Oates, Vega, Young, Webber).

Les Blank's Burden of Dreams ('82, about making of Fitzcarraldo);

Robert Altman's California Split ('73, w/ Gould, Segal);

Captain Blood ('35, d: Michael Curtiz, w/ Errol Flynn),

Castle Keep ('69, d: Sydney Pollack, w/ Lancaster, O'Neal, Dern -- trippy, bordering-on-surreal antiwar film).

Charley Varrick ('73, d: Don Siegel, w/ Walter Matthau, Joe Don Baker);

Croupier (d: Mike Hodges -- Some kind of British/Canadian DVD has reportedly been available for over a year, but what about a U.S. special edition with commentary, etc.?);

Arthur Penn's The Chase ('66), written by Lillian Hellman from a book by Horton Foote , w/ Marlon Brando, Jane Fonda, Robert Redford (a.k.a., "Bubber"), Angie Dickinson, Robert Du vall, E. G. Marshall, and Martha Hyer, among others. I'm envisioning a two-disc set, containing both the theatrical release and Penn's original cut, restoring scenes and putting the rest in Penn's preferred order. I believe that Columbia still owns the film.

Orson Welles' Chimes at Midnight;

Bernardo Bertolucci's The Conformist ('71, w/ Trintingant, Sanda);

Luchino Visconti's The Damned ('69); Darling (d: John Schlesinger, w/ Christie, Bogarde, Harvey);

Day for Night ('73, d: Francois Truffaut, w/ Bisset, Leaud, Aumont);

Dead Heat on a Merry-Go-Round ('66, d: Bernard Girard, w/ Coburn - cool little caper film featuring Harrison Ford making screen debut as bellboy);

Dial M for Murder (1954, d: Alfred Hitchcock, w/ Milland, Kelly, Cummings, Williams);

Diary of a Mad Housewife (1970, d: Frank Perry, w/ Snodgress, Benjamin, Langella);

Double Indemnity ('45, d: Billy Wilder, w/ MacMurray, Stanwyck, Robinson - UCLA and Robert Gitt's restored version needs to be transferred to DVD);

Krzysztof Kieslowski's The Double Life of Véronique ('9_);

Elia Kazan's East of Eden ('55, w/ Dean, Massey, Van Fleet -- 2.55 to 1 widescreen version, w/ overture);

El Cid (1961, d: Anthony Mann, w/ Heston, Loren, Vallone, Lom)

Electra Guide In Blue ('73; dir: James William Guercio, w/ Blake, Bush, Ryan, Riley)

Luis Bunuel's The Exterminating Ange ('62);

The Fall of the Roman Empire (1964, d: Anthony Mann, w/ Boyd, Loren, Plummer, Mason, Guinness);

The Far Country(1954, d: Anthony Mann, w/ James Stewart);

Far From the Madding Crowd ('67, d: John Schlesinger, w/ Christie, Stamp, Finch, Bates).

Foreign Correspondent ('40, d: Alfred Hitchcock, w/ McCrea, Day, Sanders, Benchley, Gwenn);

Greetings ('68, d: Brian De Palma, w/ De Niro);

Grand Prix

Gunga Din (1939, d: George Stevens, w/ McLachlan, Grant, Fairbanks, Jaffe);

Hamlet (1996, d: Kenneth Branagh, w/ Branagh, Winslet, Heston, Jacobi);

A Hatful of Rain (1957, d: Fred Zinneman, w/ Murray, Saint, Franciosa, Nolan);

The High and the Mighty ('54, d: William Wellman, w/ Wayne, Stack, Trevor - 2.55 to 1 Scope version -- needs restoration);

Hobson's Choice ('53, d: David Lean, w/ Laughton, Mills, Brenda de Banzie);

The Hospital ('71, d: Arthur Hiller, w/ Scott, Rigg, Hughes).

I Confess ('53, d: Hitchcock, w/ Clift, Baxter, Aherne, Malden);

If... (1968, d: Lindsay Anderson, w/ McDowell, Wood, Noonan, Warwick. Revolution comes to a British boarding school. McDowell's "Travis" was easily his most charismatic);

Ikiru (1952, dir. Akira Kurosawa, with Takashi Shimura);

Nicholas Ray's In a Lonely Place ('51, w/ Bogart, Grahame)

In Cold Blood (1967, d: Richard Brooks, w/ Blake, Wilson, Forsythe);

It's A Mad, Mad, Mad, Mad World ('63, d: Stanley Kramer --restored, full-length version taken from 70mm elements, w/ overture, entr'acte music & effects);

Douglas Sirk's Imitation of Life ('59);

Richard Lester's Juggernaut ('74, w/ Harris, Sharif, Hemmings, Jones);

King Kong ('33 d: Merian C. Cooper, Ernest B. Schoedsack, w/ Armstrong, Wray, Cabot). Supposedly getting the restoration treatment

King of Kings ('61, d: Nicholas Ray, w/ Hun.ter, Hatfield, Ryan - preferably mastered off roadshow 70mm version);

Federico Fellini's La Dolce Vita ('60);

The Landlord (1970; d: Hal Ashby, w/ Bridges, Grant, Sands, Anspach);

The Last Movie (1971, d: Dennis Hopper, w/ Hopper, Adams, Fonda, Kristofferson);

Laura ('44, d: Otto Preminger, w/ Andrews, Tierney, Webb, Price);

Luchino Visconti's The Leopard ('63, w/ Lancaster, Delon, Cardinale -- needs restoration).

Letter From an Unknown Woman ('48, d: Max Ophuls, w/ Fontaine, Jourdan, Christians);

Lifeboat ('44, d: Alfred Hitchcock, w/ Bankhead, Hodiak, Slezak, et. al. -- has never had necessary work done);

Lilith (1964, d: Robert Rossen, w/ Beatty, Seberg, Fonda, Hackman);

"A big, beautiful, special edition DVD of Arthur Penn's Little Big Man. Let's get a commentary track from Penn, for sure! And Dustin would be swell too." -- Drew Kerr.

Little Caesar (1930, d: Mervyn LeRoy, w/ Robinson, Blackmer -- "Is this the end of Little Rico?);

The Loneliness of the Long-Distance Runner (1963, d: Tony Richardson, w/ Courtney, Finlay, Redgrave -- my favorite kitchen-sink drama, a slight notch ahead of This Sporting Life)

Loving (1970, d: Irvin Kershner, w/ Segal, Saint, Hayden, Wynn);

Orson Welles' The Magnificent Ambersons ('42 -- among the most irritating and overrated "great" films ever made);

Douglas Sirk's Magnificent Obsession ('54, w/ Hudson, Wyman);

Man of the West (1958, d: Anthony Mann, w/ Cary Cooper);

Vincente Minnelli's Meet Me in St. Louis ('44 -- glorious color).

Metropolitan ('90, d: Whit Stillman)

Arthur Penn's Mickey One ('65, w/ Beatty, Tone);

Murder My Sweet ('44, d: Edward Dmytryk, w/ Powell, Trevor, Kruger);

Lewis Milestone's Mutiny on the Bounty ('62, w/ Brando, Howard, Harris -- DVD should ideally be based upon digital reconstitution of 70mm Ultra Panavision version with 2.76 to 1 aspect ratio);

The Naked Spur (1953, d: Anthony Mann, w/ James Stewart);

Abel Gance's Napoleon ('27);

Jules Dassin's Never on Sunday ('60);

Bernardo Bertolucci's 1900 ('76 -- the 255-minute version will suffice);

New York, New York (1977, d: Martin Scorsese, w/ De Niro, Minelli);

Ninotchka ('39, d: Ernst Lubitsch, w/ Garbo, Douglas);

Objective: Burma ('45, d: Raoul Walsh, w/ Errol Flynn);

Francis Coppola's One From the Heart ('82, w/ Forrest, Garr, Kinski);

Sergio Leone's Once upon a Time in America ('84, w/ De Niro, Woods, McGovern -- the 225-minute version, of course);

One, Two, Three (1961, d: Billy Wilder, w/ Cagney, Buccholz, Tiffin - b&w Scope laser disc out a few years back, but no DVD) Jacques Tourneur's Out of the Past ('47, w/ Mitchum, Greer, Douglas -- mid '90s Image laser disc is the standard to match).

The Outfit ('74, d: John Flynn - hard-boiled, underseen noir crime pic w/ Duvall, Baker, Ryan);

The Ox-Bow Incident (1943), d: William Wellman, w/Fonda, Andrews, Quinn, Morgan, Darwlell).

Preston Sturges' The Palm Beach Story ('42),

Michelangelo Antonioni's The Passenger ('75, w/ Nicholson, Scheider, Hendry);

Pat Garrett and Billy the Kid, (1973/ d: Sam Peckinpah, w/ Coburn, Kristofferson, Jurado, Dylan - director's cut, of course).

The Pawnbroker (1965, d: Sidney Lumet, w/ Steiger, Peters, Fitzgerald, Sanchez).

The Private Life of Sherlock Holmes ('69 or '70> d: Billy Wilder). MGM may be planning a disc of it at some point, but what I'd like is for the company to truly restore the film by finding the deleted footage and releasing it as Wilder planned, as a longish roadshow picture."

Persona ('66, d: Ingmar Bergman, w/ Ullman, Andersson)

Richard Lester's Petulia ('68 w/ Scott, Christie, Knight, Chamberlain -- brilliant, underseen & underappreciated);

Frank Perry's Play It as It Lays ('72, w/ Weld, Perkins, Grimes -- "It's not artificial, it's reconstituted");

John Boorman's Point Blank ('67, w/ Marvin, Dickinson, Vernon, Wynn);

The Quiller Memorandum (1966, d: Michael Anderson, w/ Segal, Guinness, von Sydow, plus a Harold Pinter script.

Warren Beatty's Reds ('81).

Ride the High Country ('61, d: Sam Peckinpah, w/ McCrea, Scott);

Ryan's Daughter ('70, d: David Lean -- taken from 70mm roadshow elements, if possible);

Sammy and Rosie Get Laid (1987, d: Stephen Frears);

Scarecrow ('73, d: Jerry Schatzberg, w/ Pacino and Hackman);

The Sea Hawk ('40 d: Michael Curtiz, w/ Flynn and what costars?);

Secret Honor (1984, d: Robert Altman, w/ Philip Baker Hall);

Shall We Dance ? (1996, dir. Masayuki Suo).

Shampoo (1974, d:Hal Ashby, w/ Beatty, Christie, Hawn, Warden);

A Shock to the System ('90, d: Jan Egleson, w/ Caine, Reigert, McGovern). "I have a friend who works for a DVD manufacturer on the east coast and he informed me that A Shock To The Syst em is coming out as soon as they get the licensing for the score. I think it even has commentary." -- Anonymous.

"I've been waiting and waiting for a DVD of Robert Altman's masterpiece Short Cuts. I would love to hear a full-length commentary from Altman about the process of taking Raymond Carver's fantastic stories and adapting them to film. I need this DVD...now!" -- Joe Brogan

The Spy Who Came in from the Cold ('66, d: Martin Ritt, w/ Burton, Bloom, Werner -- Paramount Home Video laser disc & VHS versions are barely watchable);

Surviving Picasso (1996, d : James Ivory, w/ Hopkins, McElhone);

Swing Time ('36, d: George Stevens w/ Astaire, Rogers);

The Thing (1951 Christian Nyby / Howard Hawks version w/ Tobey, Arness);

They Died With Their Boots On ('41, d: Raoul Walsh, w/ Flynn, De Havilland);

To Catch a Thief ('55, d: Hitchcock. Properly done this time, using 8-perf VistaVision elements);

To Live and Die in LA (1985, d: William Friedkin, w/ Petersen, Dafoe, Pankow);

Treasure of the Sierra Madre (1948, d: John Huston, w/ Bogart, Holt,Huston - the laser disc that came out in the early '90s looked sharp and clean; DVD could be even better);

The Trojan Women (1971, d: Michael Cacoyannis, w/ Hepburn, Redgrave);

Two for the Road ('67, d: Stanley Donen, w/ Finney, Hepburn);

Ronald Neame's Tunes of Glory ('60 w/ Guiness, Mills)

Mark Robson's Valley of the Dolls ('67);

Jean Luc Godard's Weekend ('68, w/ what cast?...Michel Piccoli?);

What's New Pussycat? ('65, d: Clive Donner...a mess, but also curiously amusing in a spirited, anarchic sort of way);

The White Dawn (1975, d: Philip Kaufman, w/ Oates, Bottoms, Gossett, Jr.);

The Wrong Man (1957; d: Alfred Hitchcock, w/ Fonda, Miles, Quayle).

Yankee Doodle Dandy ('42, d: Michael Curtiz, w/ Cagney, Huston, Leslie);

Year Of The Dragon ('85, dir: Michael Cimino; written by Oliver Stone).

Zulu (1964, d: Cy Rendfield, w/ Caine, Hawkins, Baker, Green);



 

E-MAIL THE AUTHOR | ARCHIVES

Email Jeffrey
Got a comment or tip? Send it in!

Archive
Want more Hollywood Confidential? Check out our archive.
Speculation that the New York Film Festival "snubbed" Wes Anderson's The Life Aquatic with Steve Zissou is untrue, according to a spokesperson. The festival committee saw Aquatic last June, in tandem with plans to open the sea-faring comedy-drama in October or thereabouts. And while "they liked it and wanted it," a decision was later made for Touchstone to open Aquatic in December, and the notion of a NYFF debut didn't seem quite as desirable.
Aquatic's opening is set for 12.10 in New York and Los Angeles, and 12.24 wide. I would normally be scratching my head over the title expansion (i.e., adding with Steve Zissou), as this sort of thing usually indicates indecision and therefore trouble on some level. But here the addition sounds droll and all of a piece, as with all things Anderson. I also imagine that Anderson, like any director from Spielberg on down, welcomed the extra time to tweak and fine-tune.
A suggestion that may not save the James Bond franchise, but will at least halt its downhill slide: arrange for producers Michael Wilson and Barbara Broccoli to be gently but firmly kidnapped and then taken to an undislcosed location (somewhere in Southeast Asia would be best), where they will be kept in two lavish homes under house arrest, with allowances for family visitations. Once this is done, all serious interest in Eric Bana playing the new 007 will cease and Wilson and Broccoli's successors can look at other options.
One of these options should, of course, be to shut the series down. Just because the Bond movies continue to make money doesn't mean they're dead inside, and that one of most compassionate acts anyone could do would be to fire a bullet into the skull of this outdated, cliche-ridden franchise and walk away proud....like Pierce Brosnan has done. Bana is said to be unsure about stepping into the 007 series, according to London's Evening Standard. The tabloid says an offer has gone out to him but that Bana is "currently deciding whether it's something he really wants to sign up [for]." Translation: he's heard the Wilson-Broccoli stories. Eric Bana would be to the 007 tradition as Lex Barker was to the Tarzan series in the 1950s.
A suggestion that may not save the James Bond franchise, but will at least halt its downhill slide: arrange for producers Michael Wilson and Barbara Broccoli to be gently but firmly kidnapped and then taken to an undislcosed location (somewhere in Southeast Asia would be best), where they will be kept in two lavish homes under house arrest, with allowances for family visitations. Once this is done, all serious interest in Eric Bana playing the new 007 will cease and Wilson and Broccoli's successors can look at other options.
One of these options should, of course, be to shut the series down. Just because the Bond movies continue to make money doesn't mean they're dead inside, and that one of most compassionate acts anyone could do would be to fire a bullet into the skull of this outdated, cliche-ridden franchise and walk away proud....like Pierce Brosnan has done. Bana is said to be unsure about stepping into the 007 series, according to London's Evening Standard. The tabloid says an offer has gone out to him but that Bana is "currently deciding whether it's something he really wants to sign up [for]." Translation: he's heard the Wilson-Broccoli stories. Eric Bana would be to the 007 tradition as Lex Barker was to the Tarzan series in the 1950s.
Hold up on that rumble about the conniving heavyweight behind Ted Griffin's firing off the Graduate-sequel flick not being Jennifer Aniston, but costar Kevin Costner. The Fly on theWall guy claimed in an 8.16 posting, using quotes from an anonymous crew member, that Griffin's dismissal "was totally Kevin's fault, not Jennifer's."
But now another guy who was right in the thick of the situation says this account is "completely false," due to the fact that "Costner hadn't started working" on the film at the time Griffin's dismissal went down. Hey, I'm just passing this along.
The Entertainment Weekly cover (#779-780) asks if Johnny Depp's performance as J.M. Barrie in Finding Neverland (Miramax, 10.22) will deliver a Best Actor Oscar...and in so doing indicates an obvious rooting interest on the part of EW staffers (film critics Owen Gleiberman and/or Liza Schwarzbaum, it's safe to presume) in at least helping Depp land a nomination. In the face of such a boldly-put suggestion, I think it's fair to offer a counter-opinion, which is that Depp's acting in this tenderly composed biopic may be too exacting for its own good.
In other words, Depp seems to really "get" the eccentric Scottish playwright who wrote Peter Pan , who, according to the press notes, was said to have a quiet, puckish personality and always spoke in a low burr. And that's Depp in the film. The problem is that his Barrie seems so internal, so into his own quiet determinations and oddball kindnesses, that you feel a strange urge to strangle him after a while. Plus there's something too actorly about his Scottish accent; it sounds at once uncertain and overly studied. In short, Depp did everything right...and in so doing created a character and a vibe that feels curiously wrong.
You like a filmmaker, you find him/her intriguing, you try to show interest and support and....test pattern. I became curious about Abel Ferrara's supposed next film, Mary, in which Vincent Gallo will play an actor playing Jesus Christ in a film-within-the-film. (This, at least, is what the Brown Bunny star-director-producer told me last week.) The focus of Mary, says Gallo, is the actress who plays the mother of Christ, and who experiences a kind of spiritual satori as a result of immersing herself in the part. The film, Gallo adds, is supposed to shoot in Rome in late September or early October.
But of course, there can be no contact whatsoever with Ferrara. The guy almost never calls back anyone, I've heard. It's always, "I'll call you." An e-mail to Ferrara's Rome-based producer resulted in zip. Ferrara's New York attorney, Jay Julien, professed a general ignorance about Mary, and couldn't direct me to anyone with a history of replying to phone calls who might. I've learned that whenever it's this much trouble to get hold of someone, it's usually not worth the effort in the first place.
Sofia Coppola is set to direct a period costume drama about Marie Antoinette and husband King Louis XVI for Columbia. Wigs and hoop gowns, the French revolution, let 'em eat cake, the guillotine...all that good stuff. This is a joke, right? The reasonably talented Sofia hasn't shown a glimmer of the kind of commanding, exacting vision that the lensing of any historical drama of this sort would require. I mean, presuming Columbia wants something at least half as good, say, as Barry Lyndon, which they probably couldn't care less about.
But I am looking forward to watching Kirsten Dunst, who will play Antoinette, get her head cut off. And you have to admire the sense of humor that Coppola and her casting director have shown in choosing Jason Schwartzman ("Max" in Rushmore) to play her husband Louis. If they stick to history, he'll also lose his head. Valor, Max...valor! You won't feel a thing. A tickling sensation, your head falls in the basket, everything turns numb, and then blackness. You can do that standing on your head. Oops..sorry.
Regarding the recent death of King Kong star Fay Wray, Move City News' David Poland wrote that Peter Jackson, director of an all-new King Kong flick, "wanted Ms. Wray to close his film with the 'Twas Beauty That Killed The Beast' line, but, ever the lady, Ms. Wray was unwilling (though attempts at persuasion continued) because she felt it would be arrogant to call the character she played -- and thus, herself -- a beauty."
Apart from the utterly nonsensical thinking conveyed in Wray's alleged view, the item is another worrisome indicator that Jackson's King Kong is going to be way too Jackson-y. (Which is to say movie-mucky to the point of suffocation.) Can you imagine a line as important as that one -- the big closer! -- given to a 96 year-old woman as an affectionate gesture, however heartfelt on Jackson's part? Art is art and emotions are emotions, and never the twain shall meet. If Jackson is handing out cameo kicker lines as tokens of respect to grand old ladies, forget it....it's over. John Ford once told Nunnally Johnson that to be a good director you have to be a bit of a bastard. This, conversely speaking, may be Jackson's problem. He's too mushy, too much of a sweetheart.
This is old news now, but those people who described Collateral's box-office performance last weekend as "so-so" or " middling" or whatever were being a tad dismissive. Unfair, really. A movie as dark as this one, with a gray-haired Tom Cruise playing a cold-hearted assassin, is doing great by taking in $24 million during its first weekend. Only three other Cruise films -- Minority Report and the two Mission Impossible's -- have had better openers.
And Exhibitor Relations' Paul Dergarabedian must have been smokin' some strong stuff before telling the New York Times' Sharon Waxman that Collateral "is not a movie that can be supported by teenagers." He's saying...what? That teenagers can't deal with urban thrillers about cops and hit men and what-all? That beautifully rendered mood and ace dialogue don't impress them? I should add there was a different reaction to the film when I saw it with a paying crowd last weekend. They didn't applaud, but the two industry crowds I saw it with earlier did. Hmmmm.
Ben Affleck was his usual glib self during his hanging-out-in-Boston segment with Katie Couric a couple of days ago...same-old, same-old...but something different happened when he did a chat thing with Hardball's Chris Matthews on Tuesday afternoon. He was focused, sharp, and quick, and had some very cogent things to say about Kerry-vs.-Bush, voter sentiments and the general lay of the land.
In other words, he did himself a huge favor. For the first time in a very long time Affleck was suddenly about something besides Bennifer, chasing girls, iffy movies and gambling sprees. He said he might want to jump into politics down the road, since the movie career thing has its limits in terms of feeling fulfilled or spiritually nourished. He also told Matthews he'd like to have his job, and Matthews said in response, "I do fear you."












Addicted to Bad
by Patrick Keller

International Intrigue
by Alison Veneto

Nocturnal Admissions
by D.K. Holm

Strange Impersonation
by Kim Morgan

Trailer Park
by Christopher Stipp




New DVD Releases
for April 11, 2006

DVD Diatribe
by D.K. Holm

DVD Late Show
by Christopher Mills




Preachin' from the Longbox
by Britt Schramm

Should It Be a Movie?
by Marc Mason

New Comic Book Releases
for April 12, 2006, 2006




New CD Releases
for April 11, 2006

Music for the Masses
by M.C. Bell




TV Recommendations
Boob toob picks of the week by Chris Ryall

Kentucky Fried Rasslin'
by Scott Bowden

TV Pilot Review Archives
by Chris Ryall



                        © Copyright 2002-2006 Movie Poop Shoot