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…)

So, because you all enjoyed that list so much, and because I apparently have a death wish, it’s time for another: The Top 10 Most Overrated Actors/Actresses of All Time.

Unlike last time, I will claim that these are objective facts, not subjective opinions, so that all my critics may have full liberty to attack me (To those same critics who claimed last time that I phrased my opinions in an “objective” manner, this is called being facetious. That means I’m kidding. Also, seriously? That was your criticism?).

Here are my criteria: are they considered great actors/actresses? If not, they can’t make the list (sorry, Rob Schneider). Are they actually great actors? If so, they can’t make the list (sorry, Laurence Olivier). Only those who are considered great actors but are not, in fact, great actors can make this list. Even then, I’m not claiming that these are bad actors unless I explicitly say that I am.

So, here we go. In the words of Han Solo, I’ve got a bad feeling about this …

10. George Clooney: Not a great actor. Not a good actor. Not really an actor. If you’ve ever seen a movie with Clooney where you didn’t say to yourself, “Hey, I’m watching George Clooney” every thirty seconds or so, you haven’t seen a George Clooney movie. You’re mixing him up with Kate Winslet. He’s a D actor. Dull in “Michael Clayton.” Dreary in “Up In The Air.” Dreadful in “Syriana.” Dismal in “Batman and Robin.” He’s not a low-rent Cary Grant. He’s an affordable-housing Robert Wagner.

9. Dustin Hoffman: He turned in some tremendous performances in his early days (most notably “Papillon,” “Kramer vs. Kramer,” and “Tootsie”), then became a caricature of himself. He has not done anything worthwhile since “Tootsie,” in fact. Even in his better performances, he is a bit too mannered for my taste, perhaps an effect of his method acting. Laurence Olivier thought the same thing. When they were working on “Marathon Man” together, Hoffman showed up on set after having not slept for several days in order to get “in character.” Olivier took one look at him and said, “Dear boy, it’s called acting.” (more…)

Just by virtue of when it was released, “Reds” (1981) has been praised as courageous filmmaking in the age of Reagan.  But thirty years later, what exactly was being praised then and now?

In the bonus features of the commemorative DVD release, Warren Beatty says that he made this film to combat America’s “inordinate fear of communism.”  But the majority of screen time dealing with politics involves those who don’t buy into it.  Eugene O’Neil, played cynically by Jack Nicholson, calls Bolshevism the “latest theocracy.”  Maureen Stapleton’s Emma Goldman early on recoils from the Soviet regime’s abuse of civil liberties.  Reed himself attacks the Bolsheviks for censoring his copy and looks on in horror as the Soviet Army marches by.

Beatty must have realized impassioned support of Leninism wouldn’t have played well with ’80s audiences.  Hence he drastically edits Reed’s political speech down to one word:  in answer to a Democrat’s question about what World War I is about, he says “profits.”  When asked by Louise Bryant what Reed’s views on politics are, Beatty avoids the all-night speech by fast-forwarding to morning, where Reed attempts to embrace Bryant. (more…)

Best Description of ‘Quantum of Solace’ Yet

IMDB:

Roger Moore, who played James Bond longer than any other actor, has complained that the 007 franchise has suffered a decline in quality in recent years. In an interview with Varsity, the student newspaper at Cambridge University in England, Moore expressed admiration for Daniel Craig’s performance in the last Bond movie, Quantum of Solace, but he compared the movie itself to “a long disjointed commercial.”

A very long disjointed commercial.

NBC TV and Universal Film Struggle

LA Times:

The NBC broadcast network and the Los Angeles based Universal movie studio posted weak numbers for the quarter ended Sept. 30. The film studio underperformed at the box office, resulting in a 7.8% revenue decline compared with the third quarter of 2010.

(more…)

Read part one of this series here.

In William Strauss and Neil Howe’s Generations, the babies born 1925-1942 are classified as members of the “Silent Generation.” These were the kids who grew up during the crises of the Great Depression and World War II, entered young adulthood at the postwar high of the 1950s, and hit middle age during the cultural chaos of the late 1960s and ’70s. This life sequence puts them in Howe and Strauss’ “Adaptive” archetype, a recessive generation less populous in numbers than the ones before (the GI Generation) and after (the Baby Boomers.)

When this generation started making movies they transformed Hollywood. Peter Biskind’s 1998 book Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N Roll Generation Saved Hollywood lays out the popular narrative. The tail of the Silent Generation and the beginning of the Boomers (filmmakers born 1939-1946) put out major dramatic work that challenged the more bland conventions of mid ‘60s Hollywood cinema. The 1970s were the R-rated decade. Francis Ford Coppola made “The Godfather.” Martin Scorsese released “Mean Streets” and “Taxi Driver.” New serious actors like Jack Nicholson, Warren Beatty, Jon Voight, and Robert De Niro delivered legendary performances. This was a film generation inspired by the French New Wave to treat movies as serious art.

Oscar Nominated-screenwriter, award-winning mystery novelist, and now Pajamas Media CEO Roger L. Simon was a member of this clique. Born in 1943, Simon is like others born at the edges of generations, a blending of both appears in his re-titled memoir Turning Right at Hollywood and Vine, recently released in paperback with new material. (more…)

We’ve all watched well-known, highly regarded actors for the umpteenth time on screen — perhaps even raucously enjoying both their performance and the movie — and thought about how painfully derivative and self-referential they’ve become. Somewhere along the way, over a period of many years, these talented thespians stopped surprising us. They ceased bringing to life fleshed out individuals and  began using and reusing tired sets of predictable quirks and tics.

Mind you, they’re still charismatic and entertaining to watch, but in an almost clownish way. We now go to see them not to be wowed by their acting, but to be entertained by their chewing the scenery and hamming it up. Whereas in the past they lost themselves in a part, now their well-known, theatrically overblown personalities overwhelm everything else on screen.

Who are the worst offenders? My own Top 5 list was compiled with two ground rules: each candidate had to be alive (so James Dean and Marlon Brando each get a reprieve), and they have to have won at least one Academy Award for acting (which spares modern, less-laurelled hams such as Robert Downey Jr., Johnny Depp, Woody Allen, Jeff Goldblum and Mel Gibson.) Again, the following actors are not necessarily unpleasant to watch — raw charisma goes a long way — but they have become predictably one-note parodies of themselves. (more…)

The hardest part of compiling this list was in trying to define what does and does not qualify as a horror picture. Most every definition out there has a slippery slope that can lead to all kinds of similarly-plotted films that don’t fit the genre. For instance, if you include Hitchcock’s “Psycho,” why not “Silence of the Lambs” and therefore “The Bone Collector,” “Kiss the Girls” and “Se7en?” What’s the difference between a slasher film and a violent thriller like Brian DePalma’s “Dressed to Kill”? And if you include “Halloween” why not “Shadow of a Doubt?” Furthermore, if you stick only to the supernatural, then you have to ask yourself if zombies qualify as supernatural, which I think is a road we’d all prefer not to go down.

Since coming up with this countdown idea, this particular question has consumed my days and nights to the point that what was going to be a Top 31 list is now a Top 25. But then a revelation struck: Who cares? And for the record, that happens to be my favorite revelation.

So what we have here is nothing more than a daily countdown – one film at a time (with a few cheats) – of my favorite scary movies to watch during the season of Halloween. As good as they are, as suspenseful as they are, films such as “Jaws” and serial killer procedurals just don’t qualify. In my mind there’s a certain kind of horror perfect for this time of year when the wind’s cold, the leaves turn brown, and the sky is overcast. Yes, I live in L.A. where the season only change from rush hour to not, but in my own mind I’m twelve years old, living in the Midwest, and my parents have let me stay up way past my bedtime because “Shock Theatre” is on… (more…)

“I’m very nervous!” twittered super-model Naomi Campbell during a press conference held in Havana’s Hotel Nacional in 1998. “I just spent an hour and a half talking with your president, Fidel Castro!  But he told me there was nothing to be afraid of because he already knew a lot about us (Campbell and her travel-chum, Kate Moss) from reading the press!” 

Castro undoubtedly knew plenty about Mss’ Campbell and Moss–but probably not from reading Vogue, Elle or Cosmo.  

“My job was to bug their hotel rooms,” disclosed high-ranking Cuban intelligence defector Delfin Fernandez, “with both cameras and listening devices.

“When word came down that models Naomi Campbell and Kate Moss were coming to Cuba the order was a routine one: 24-hour-a-day vigilance. Then we got a PRIORITY alert, recalls Fernandez, “because there was a rumor that they would be sharing a room with Leonardo DiCaprio. The rumor set off a flurry of activity and we set up the most sophisticated devices we had.”  (more…)

This month TCM is running a fascinating series, Shadows of Russia, a history of Russia and the Soviet Union as seen through Hollywood’s lens. If you care about movies and politics, you should check out these movies.

The idea for this series originated with the fine film blogger Self-Styled Siren and the New York Post’s Lou Lumenick. Self-Styled Siren explains how it came about here.

Marlene Dietrich, The Scarlett Empress, 1934.

First up, Josef von Sternberg’s—real name Jonas Sternberg—The Scarlett Empress, 1934, starring Marlene Dietrich as Catherine The Great. Catherine was born to an obscure noblemen of the tiny and dirt poor realm of Anhalt-Zerbst. She was brilliant, precocious and, ah, not too attractive.

Hollywood being Hollywood—thank heavens—rewrites and recasts history in a big way. Marlene Dietrich first appears as an innocent young girl, all blond ringlets—very Shirley Temple. It’s great seeing Dietrich do a virgin: she pouts and poses, melding innocence and nymphomania. (more…)

As we say goodbye to the first decade of the new century – and I don’t wanna hear any revisionist bellyaching about the decade not ending until December 2010 – we also say hello to the mainstream media movie critics’ lists of the best movies since 2000.  Like their “hard news” reporting brethren, the MSM’s critics’ consensus view of what’s good constitutes a conventional wisdom that emphasizes the “conventional” while going light on the “wisdom.”  And, like the rest of the MSM, they are almost always wrong.

This countdown of movies – all but one of which was nominated for at least a couple of Oscars – is not a list of the worst movies of the last decade.  Instead, it counts down ten notable cinematic critical darlings that simply do not hold up over time.  They are not necessarily awful films – though some are transcendentally terrible – and many have good performances, memorable scenes or even a classic character or two.  But overall, the effect of watching them again today is similar to what you might experience at your high school reunion when you see how that sexy cheerleader you once dated is now a bloated wildebeest with a tat on her meaty hock reading “Hope and Change.”  You just shake your head, asking yourself, “Man, what was I thinking?” (more…)

The men and women who earn the right to wear eagle, globe and anchor of the United States Marine Corps are a special breed.   To those outside the Corps, they talk funny.  They look funny.  They are extremely impressed with themselves – and they have every right to be. 

My beloved United States Army is a blunt instrument, a magnificent club that has pummels our nation’s enemies into submission.  But the Marines are America’s rapier, a razor sharp weapon of war that has never been bested and never will be.  For over two centuries, the United States Marine Corps has been fighting our country’s battles in the air, on land and sea.  They don’t give up.  They don’t quit.  There’s no word for retreat in a Marine’s vocabulary.  And they are making history even today in the mountains of Afghanistan and elsewhere.

November 10th is the Corps’ 234th birthday.  With the indulgence of my Devil Dog brethren, here is this Army veteran’s countdown of the Top Ten Marine Corp movies: (more…)

Today, Scribner sent along this timely excerpt from “Without Fidel: A Death Foretold in Miami, Havana and Washington,” a new book by award-winning journalist Ann Louise Bardach. For those of you who don’t know, today, on behalf of Vanity Fair, Sean Penn’s in Cuba hoping to secure an interview with Fidel Castro. As you’ll read below, this is not Penn’s first trip and he’s pretty chummy with the Castro brothers. And don’t miss the short excerpt at the very end — an amusing anecdote revealing how visiting stars like Leo and Jack Nicholson are put under constant surveillance in Uncle Fidel’s Cuba. As long as it’s not Dick Cheney, right?

Without Fidel
by Ann Louise Bardach

Chapter 12 – Raul’s Reign: The Grave Yard Shift

In October 2008, Raul Castro granted his first interview as president of Cuba – and one of the very few he has ever given. The lucky recipient was not one of the dozen accredited reporters based in Havana. Nor was it a journalist who has covered the Miami/Havana beat, nor one of the hundreds of requests from representatives from media organizations and academia who have filed requests with the Foreign Ministry. Rather, Raul Castro’s first interlocutor would be the actor/director, Sean Penn, who periodically weighs in on politics.

Penn had just winged in on a Venezuelan military jet from Isla Margarita, the picturesque island near Caracas, having had spent two days with a convivial Hugo Chavez. With him were the writer Christopher Hitchens and historian Douglas Brinkley, whom Penn had invited to accompany him, presumably to lend gravitas to his efforts. The three had hoped to reprise their luck with Raul Castro and, according to Penn, seemed to have been promised as much. (more…)

They plunder. They kidnap. They ransom. They steal. They kill. They are destroying the fabric of world civilization.

They are pirates, and piracy must be stopped.

Yes, Hollywood is filled with terrible individuals that must be reigned in.

Sure, I could blame Somalia for the problem, but they are starving. I blame Hollywood for glorifying pirates everywhere.

Therefore, the solution is to crack down on piracy at the source. (more…)