If you love B-movies with plenty of camp, comedy and gore, then you’ve probably seen a few films created by the writer/producer/director Roger Corman, the man behind SyFy channel pictures like “Dinocroc vs. Supergator” and older classics like the original “Little Shop of Horrors.”

Up-and-coming director Alex Stapleton turned the camera onto the camp master in her film “Corman’s World: Exploits of a Hollywood Rebel.”

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It follows Corman’s career – over half a century of cheap-as-dirt indie filmmaking – and the resulting 400-plus films that he created in that time. The film launched earlier this month, and Stapleton called BH recently for an interview about her film, Corman’s influence, and getting Jack Nicholson to cry on camera.

BH: Where does Roger Corman fit into the history of cinema?

Stapleton: I definitely think he’s part of the backbone of cinema. I think, creatively speaking as a filmmaker and director, he kind of helped – along with his compatriots – to birth the kind of blockbuster genre film experiences that we experience today that the studios are making.

I think Roger was definitely one of the pioneers in that movement. When you look at the movie “Avatar,” you look at the director and it’s James Cameron, and James Cameron [worked] under Roger Corman for years and… I think that James Cameron would probably tell you the same thing: that he learned a lot about how to put together a genre story by working for Roger.

I also think that as far as moments in cinema history, Roger has had a huge influence, specifically with the American new Hollywood movement, by finding and mentoring people like Peter Fonda, Jack Nicholson, [and] Peter Bogdanovich, starting their careers but also giving them the idea – Peter Fonda, Denis Hopper and Jack Nicholson – giving them the idea to make the movie “Easy Rider,” which is a hybrid movie of Roger’s movies “The Trip” and “Wild Angels.” (more…)

I loved going to the movies.  I always have, but I’m not so sure I do anymore.

We all know Hollywood is spinning around the bowl, waiting for the final flush. Attendance at theaters is not just flat-lining, it’s in free fall. There are a lot of reasons, some of which Hollywood really cannot do much about. Video games occupy young eyeballs. Technology now delivers a tsunami of entertainment options to our TVs, computers and iThings. But there are ways that Hollywood can respond. It can make movies that don’t suck, but that’s another subject for another time. And it can make the theaters into something new and different – that is, it can make them into places we want to be.

I (and folks like me) should be a target demographic for the green eyeshade guys who supposedly run Hollywood.  While, even if all the conditions were perfect, I wouldn’t go as much as I used to, I used to go a couple times a week before I was married, and even after I’d go weekly. I’ll spend my few free bucks (including the fortune for babysitters) if there’s something I want to see (doubtful, and again another issue for another time) and if going to the theater itself is something other than a nightmarish death march.

Which brings me to my trip to the El Segundo, California, ArcLight Cinemas on a recent Friday night to see “Tinker Tailor Soldier Spy”…

The ArcLight, and other “premium” theaters, represents the industry’s attempt to address some of the more common complaints about theaters from people like me – decrepit facilities, careless projection, and snack options that range from bland to hideous.  As a drunken college student, I didn’t mind going to some hellhole theater on dollar night to see awesome fare like “The Exterminator II” and “Pieces”– hey, aesthetics aren’t Consideration No. 1 when your flick’s tagline is “You don’t have to go to Texas for a chainsaw massacre!” But today, I want a little more than sticky floors and discreet ticket takers who overlook the beer cans I had obviously secreted in my pockets. (more…)

“Pina,” the new 3-D movie about Pina Bausch, isn’t a typical documentary detailing the highs and lows of her dance career.

This Oscar-nominated production merely explores one thing about the late choreographer: her legacy. Although Bausch may be well-known to those who have studied dance intricately, the name is likely an unfamiliar one to other viewers.

I didn’t know anything about her until I was invited to the film’s screening.  That being said, “Pina” delivers on what it attempts to do– it is an honorable and well-filmed tribute to a woman who changed the lives of so many of her students.

The history of the production of “Pina” is quite compelling. According to the film’s website, director Wim Wenders originally planned to make a movie about the dancer and the work she was doing, and Bausch fully approved the production. That film– a story about her ongoing work– was canceled when she died unexpectedly during pre-production.

But the end of that film begot the beginning of another– one that honored the legacy of the late dancer.

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Captain James T. Kirk can be a little irritating at times, William Shatner acknowledged during a January appearance in the New Orleans Convention Center’s Wizard World event.

But, at the same time, the iconic starship captain has opened the way to high profile Hollywood career opportunities, exotic travel destinations and robust cultural exchanges that would not otherwise have been possible, Shatner told hundreds of listeners during a question and answer session held as part of the city’s two-day “Wizard World Comic-Con.”

The highly versatile pop-culture legend, known across generations, was the center of attention at the annual event. He appeared on Sat. January 28th. Other featured guests included Stan Lee, the creator of Spider-Man, and bodybuilder Lou Ferrigno, who played the “Incredible Hulk” in the 1970s and 1980s opposite the late Bill Bixby.

Instead of delivering a prepared talk filled with anecdotes about his career in entertainment, Shatner told attendees that he would rather take their questions and concentrate on their interests.

“Have you ever hated Captain Kirk?” one audience member asked. In response, “The Shat,” as he is commonly called now, described his romp down Bourbon Street the previous night.

“Last night we were having dinner, and the waiter comes up and says — what would you like? I said `oysters.” And he said — ‘Beam Me Up Scotty!!!’ — I mean come on.”

“On the other hand…,” he added. “I would not have been here ordering those oysters if it hadn’t been for Captain Kirk. It’s a two-edged sword. Imagine getting to do the things I’ve done as a result of playing the part of Captain Kirk.”

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Veteran actor Ben Gazzara, best known for his collaborations with director John Cassavetes, has died at 81 after a battle with pancreatic cancer.

From The New York Times:

Mr. Gazzara studied with Lee Strasberg at the Actors Studio in Manhattan, where the careers of stars like Marlon Brando and Rod Steiger were shaped, and like them he had a visceral presence. It earned him regular work across half a century, not only onstage — his last Broadway appearance was in the revival of “Awake and Sing!” in 2006 — but in dozens of movies and all sorts of television shows, including the starring role in the 1960s series “Run for Your Life.”

If Mr. Gazzara never achieved Brando’s stature, that was partly because of a certain laissez-faire approach to his career: an early suspicion of film, a reluctance to go after desirable roles.

“When I became hot, so to speak, in the theater, I got a lot of offers,” he said in a 1998 interview on “Charlie Rose.” “I won’t tell you the pictures I turned down because you would say, ‘You are a fool.’ And I was a fool.”

And yet Mr. Gazzara’s enduring reputation may well rest on his film work, specifically the movies he made with Mr. Cassavetes, the actor and director revered by cinephiles for his risk-taking independent projects and a directorial style that encouraged spontaneity.

The venerable dance show “Soul Train” was never just about the music.

The series debuted at a contentious time in our nation’s history, and audiences of all colors could watch – and groove to – the sounds being spun by host Don Cornelius.

The “Soul Train” impresario may have passed this week at 75, but his musical and cultural legacy will endure, says Kansas City Star columnist Jenee Osterheldt:

The show first aired in 1971, on the heels of the civil rights movement, and it proved to be a great unifier. It served as a platform for black artists like Al Green and Johnnie Taylor, but it didn’t take long for the likes of Elton John and David Bowie to ride the train too. To me, that’s what makes it so important.

On “Soul Train,” you could tune in and see people of all colors and ethnicities singing and dancing together. What fan doesn’t remember Cheryl Song, the long-haired Asian dancer with moves to mimic? And Rosie Perez? She’s arguably one of the best dancers of the past few decades….

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As much of the rest of Hollywood dutifully sides with an abortion mill (responsible for killing more unborn women than Stalin), over a respected foundation that has done more to fight breast cancer and save women’s lives than any other, one high-profile star isn’t afraid to swim against these left-wing Tinseltown hordes:

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Ellen Barkin, Roseanne Barr, John Legend, Lance Armstrong, and many others have pledged to not only end their support of Komen, they are also urging others to do the same. But that’s how the left thinks. First off, how dare a private charity make a private decision (so much for “choice”). Secondly, you can’t support both for heaven’s sake, Harvey might not invite you to his next shindig.

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In May 2010, New York City Mayor Michael Bloomberg posited that the individual who packed a Nissan Pathfinder full of explosives and parked it in Times Square was likely a homegrown American “with a political agenda who doesn’t like the health care bill or something.”

Fortunately, the car bomb did not detonate.

The terrorist turned out to be Faisal Shahzad, a Pakistan-born U.S. citizen. And, not surprisingly, Shahzad wasn’t upset about the health care bill. After pleading guilty in court he said, “I consider myself a Mujahid, a Muslim-soldier.” He was upset, as he put it, over “American occupation of Muslim Lands.”

Shortly after the attack, Bloomberg prematurely asserted that there was no evidence suggesting the bomber was part of any recognized terror network. Shahzad later told the court he trained with the Pakistani Taliban to learn bomb-making and other related skills.

Could it be that Bloomberg has underestimated the threat of Islamist terror, or is there another agenda?

The issue has again become relevant in recent days. The New York Times ran a series of articles and editorials blaming the NYPD for using the film The Third Jihad: Radical Islam’s Vision for America as part of their counter-terrorism training. (more…)

“The Woman in Black” reaches back into the horror-movie past, long before mad slashers and crazed gore frenzies infested the genre, to present us with an unapologetically old-fashioned haunted-house exercise.

The picture pays vivid tribute to the fog-choked byways and richly decorated interiors of the old Hammer horror films (and is in fact the first release by that newly resurrected studio after some 30 years of commercial hibernation). But it also partakes of the narcoleptic pacing that hobbled some of those old pictures, and so despite this movie’s stylish design and agreeably vintage frights, it is also, sad to report, kind of boring.

The story is derived from a 1983 novel by Susan Hill that was previously adapted for British TV and radio, and has been running in a London stage version for more than 20 years. Clearly there’s an audience for this time-tested material; it only remains to be seen whether it’s an audience that also goes to the movies.

The setting is vaguely Victorian (although a briefly glimpsed newspaper story about Arthur Conan Doyle’s conversion to spiritualism would place it closer to the 1920s). Daniel Radcliffe, in his first post-”Potter” film role, plays Arthur Kipps, a morose young lawyer still shattered by the death of his wife in childbirth four years earlier. He is dispatched by his London office to the faraway village of Crythin Gifford, there to organize the estate of a recently deceased old woman. Arriving by train in the grim, unwelcoming village, he makes his way to her even grimmer residence—a dismal stone mansion situated in nearby marshlands at the end of a long road that’s submerged by high tides for many hours of each day.

Read the full review at Reason.com

Ayn Rand may have a voice in the upcoming presidential election if the folks behind the “Atlas Shrugged” series have their way.

“Atlas Shrugged Part 2,” based on Rand’s iconic 1957 novel, begins principal photography in April in Los Angeles, Colorado, and New York. The film’s release window is October 2012, roughly a month before the presidential election.

No word on cast additions or changes yet, but Duncan Scott, an 8-time Emmy winner who worked extensively with Rand in her editing of “We the Living,” has joined the “Atlas” production team.

“Rand has long been the focus of Duncan’s work. He brings invaluable experience to the table as well as an incredible depth of knowledge regarding Atlas. We’re thrilled to have him on the team,” producer John Aglialoro said in a statement.

Today’s announcement, timed for Rand’s birthday, comes with the promise that the filmmakers will try to build upon the first installment.

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Left-wing operatives, like those who run Politico, are intentionally attempting to create their own reality. In the same way the left turned “30 Rock,” a show that ranked 106 in the ratings last season, into some sort of cultural phenom, the idea here is to push the political and social values of something no one watches into our country’s cultural and media narrative as though it’s something it’s not — popular.

Politico loves Stephen Colbert because Stephen Colbert loves Barack Obama and is waging war against the Right and free speech. America, however, is, to be kind, indifferent to Colbert. 1.44 million viewers and only half that among the 18-49 group, does not make you King of anything.

But Colbert knows how to play the game and understands that if he wants these kinds of hollow accolades and the opportunity to push his left-wing agenda and to have history revised in his favor, he must appeal to the right people, and the right people are not THE people; the right people are the left-wing elites who infest our corrupt media.

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Reprinted with permission from Conservatives For Palin. Written by Stacy Drake.

Many months ago, HBO announced it was planning to make a movie based on the book, “Game Change” by John Heilemann and Mark Halperin. After reading John Nolte’s article, which indicated that the movie would be focused primarily around Governor Palin, and it wouldn’t be portraying her in a very positive light, I decided to study up on it. I purchased a copy of the book, read the TWO chapters based on Gov. Palin, and took down some notes.

As Nicole recently noted, HBO decided to release a trailer to that movie late last year. The actual movie doesn’t air until March 10, or as John Nolte wrote in his follow-up piece:

The one dynamic HBO probably didn’t count on was Palin’s decision not to run for the 2012 nomination. The film’s promotion and the cable news chatter that’s sure to follow seems timed to hit on, before, and around March 6, which is Super Tuesday.

The one line from the notes I took back in March that stood out as I was reviewing them for this piece, was:

Even though this book is supposed to be a story about 2008, it’s really all about 2012.

This movie was orchestrated from start to finish as a way to damage Gov. Palin during an election year by people who are not merely “artists & entertainers.” Just look at the people involved in the making of the movie.

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The following contains spoilers. You’ve been warned.

Michael Jackson!

OK, no matter how you feel about Jackson personally, the man made some awesome music in his lifetime, which is why I was uber excited for this week’s episode of “Glee”… the Michael Jackson episode!

Yup, lots of cool cover songs were there, accompanied by fantastic dance numbers, but this episode bit at me on a personal level. Do you remember the last time we watched “Glee” together (and by that I mean I watched it, and you read about it here), when Finn proposed to Rachel? Well, this week we saw her answer.

Throughout the episode, we saw Rachel hemming and hawing as she tried to make a decision as to whether or not to tie her life to one man for the remainder of her time on earth. For some reason, she decided to go to her boyfriend’s ex-girlfriend Quinn for advice. Because, of course, the best place to go for relationship advice is your current boyfriend’s ex-girlfriend (insert eye roll here).

This is where my issue with tonight’s show began and ended. Quinn told Rachel that she shouldn’t marry Finn. Rachel interjected with, “I know he and I haven’t lived together or anything, but, you know, I love him, and he’s the one, I know it.” (more…)

A few weeks ago Big Hollywood posted “‘Watchmen’ Creator Joins Occupy Comics,” noting how Deadline.com reported on Alan Moore joined other comic creators in planning a series of comic books in support of the Occupy Wall Street insurgency. In response to that story, I propose that conservatives launch a story and art project with our own perspective on #OWS.

Here is what I mean.

Alan Moore and other comic artists joining together to support #OWS is no surprise, since the comic industry is as left as the rest of the entertainment world. The comic industry previously slammed the Tea Party (although the company and writer of this particular incident later apologized; you be the judge of whether they were sincere), attacked George. W. Bush, presented the U.S. and U.S. military as evil, made an entire celebrated series out of blaspheming God and Christianity (this review of said series is actually quite good even if I don’t entirely agree with it), and has generally churned out leftist propaganda.

I no longer am scandalized at what the comic industry is doing. I expect the behavior, and I don’t envision creators apologizing for it—just as I wouldn’t have expected either Alan Colmes or Eugene Robinson to apologize to Rick Santorum for what they said about the politician’s dead child.

Leftists have made no secret about who they are, and I see no reason why we shouldn’t simply wipe the dust of their town from our feet and stop throwing pearls to them in worthless attempts to change them.

Instead, I propose we fight back.

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Writer/director David M. Rosenthal had already connected with his estranged daughter by the time it came to shoot his deeply personal new film, “Janie Jones.”

Making a semi-autobiographical tale of a singer confronted with the daughter he didn’t know he had helped complete Rosenthal’s real-life healing process.

“It was hugely cathartic for me. I’m so glad to have it done it,” Rosenthal tells Big Hollywood of the personal film project. “It brought us together on a whole different level …. I wanted to do it for me and for my daughter.”

“Janie Jones,” out on DVD today, follows a selfish rock star (Allesandro Nivola, “Junebug”) who learns he’s the father of a 13-year-old girl named Janie Jones (Abigail Breslin). The girl’s junkie mom (Elisabeth Shue) deposits her in his care while she heads to rehab. That forces the distracted rocker to care for his daughter while trying to hold his struggling band together.

No, Rosenthal isn’t a hard-charging musician, but the story’s themes clearly mirror his own life. He just made sure “Janie Jones” didn’t shadow reality too closely.

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American culture allows comedians of color to say things white comedians can’t.

That helped propel Richard Pryor into the comedy stratosphere and made Chris Rock one of the most incisive commentators on modern living during the early 2000s.

Enter “Key & Peele,” the new Comedy Central series debuting at 10:30 p.m. EST tonight. Biracial comedians Keegan-Michael Key and Jordan Peele share their mixed race ancestry in the show’s opening monologue, the kind of refreshing banter that’s immediately open and funny. The exchange doesn’t feel cobbled together by a team of writers trying way too hard to be casual.

It’s one of the best features of the new show, a program which proves both Key and Peele belong in the sketch comedy trenches – each already paid their dues on both “MADtv” and the short-lived “Chocolate News.” They’re naturals on screen, relaxed and compelling even when they’re just swapping stories.

“On a daily basis we have to adjust our blackness,”  Key says before Peele finishes, “to terrify white people.”

Normally, the pair “sound whiter than Mitt Romney in a snow storm,” Peele adds.

The premiere episode mixes the kind of material you might find on any other sketch show with bits given an edge by their heritage. That edge vanishes when the duo take on the first black president.

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The tiny film studio known as Sherwood Pictures continues to baffle Hollywood.

First, the studio’s micro-budget features like “Fireproof” and “Facing the Giants” earned millions without traditional marketing muscle or star power.

Now, its latest film, “Courageous,” debuted at the top of the DVD sales charts, surpassing such mainstream fare as “Moneyball,” “The Ides of March” and “Abduction.”

“Courageous” follows four police officers who must overcome tragedy while vowing to strengthen their bonds with their families. The film opened in the number four spot late last year and hung in the top 10 for four weeks despite opening on just over 1,100 screens, about a third of what major film releases receive.

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It’s got everything against it:

1) It’s a silent movie 2) in black and white 3) with no-name lead actors, 4) no special effects, 5) a title that oozes pretension, 6) … and it’s French! And now the Academy of Motion Picture Arts and Sciences has to come along and drive the final nail in the coffin, nominating it for 10 Oscars.

Add up all these ingredients and you have the perfect recipe for the dullest, snootiest movie ever, right? That’s the trouble with selling people on “The Artist.”

Normal, non-pretentious people, that is, who don’t think sitting through a black and white movie is a badge of honor, like an artistic Purple Heart (the snob’s version of “taking one for the team”: watching a long, boring movie so you can tell your friends about it).

And that title?  It should have been called “The Comedian.” Or “The Entertainer.” Anything but “The Artist” (that’s “Artiste” in French — mon Dieu!). (more…)

At this rate, GOP politicians may have to write their own campaign music before hitting the stump.

Newt Gingrich became the latest Republican to learn you can’t just crank up the classic rock to rally the base.

Survivor, the ’80s band best known for “Eye of the Tiger,” is suing the former Speaker for using “Tiger” on the campaign trail.

The suit, filed Monday in Illinois District Court, alleges that Gingrich has made “unlicensed and unauthorized use” of “Eye of the Tiger” since “at least as early as 2009” at political conferences and campaign events. The complaint cites one recent instance in Doylestown, Pa., when “Mr. Gingrich entered the packed Moose Lodge for a speech as the song ‘pulsed,’ according to the Newt 2012, Inc. website.

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There’s nothing pretty about Liam Neeson.

The Irish actor sports a disheveled nose and an accent that sounds like it belongs in a pub where the bar stools date back to the Second World War. And when Neeson puts up his dukes on screen, there’s no “Matrix”-style effects to give him cover. It’s all loping jabs and hay makers.

It’s why audiences are responding to his latest action film, “The Grey.” The film came in first over the just-wrapped weekend, earning $20 million without any big stars beyond Neeson and no existing brand to bank on. Neeson stars as a depressed sharpshooter who must survive the elements, and a hungry pack of nearby wolves, when his plane goes down in freezing terrain.

Compare the box office results for “The Grey” to the opening weekend haul of Taylor Lautner’s “Abduction” from late last year:

“The Grey” – $20 million

“Abduction” – $10.9 million

Lautner’s got Neeson by 40-odd years, and you just know Neeson doesn’t have six-pack abs like Mr. “Twilight.” Audiences didn’t care. They responded to the way Neeson goes about his business on screen. It’s never smooth or calculated, but Neeson’s characters settle scores and survive in a way that hearkens back to how male movie stars used to behave on screen.

He’s a man’s man, and that makes him a rarity in today’s Hollywood.

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