–NEW FEATURE DEBUTS TOMORROW–

Hunter Duesing, who does an excellent job covering the latest in DVD and Blu-ray releases, has seen the future and its name is STREAMING. And so he will now do double duty with a weekly column that covers the latest in streaming news: what’s new, what’s available, and whatever else crosses his mind.

Look for the debut first thing tomorrow morning.

All together now: Thanks Hunter!

–”BREAKING BAD” FINAL RUN WILL RUN OVER TWO SEASONS–

Though there was a lot of drama over whether or not one of the finest explorations of how a good man can sell his soul ever produced in any medium would move to another network, what’s likely to happen is pretty much what was expected. If you remember “The Sopranos” did the same thing, breaking the final season into two parts. This works for the network in two ways. First, even though the production company and network will save money producing fewer episodes than two seasons normally demand, it keeps the buzz alive around the show and the network for an extra year. But most importantly it creates two separate DVD sets out of those fewer episodes — a part one and part two, which obviously increases profits.

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You’ve certainly heard of the new film Super 8.  Not the self-serving Anthony Weiner autobiography– the new summer flick about a small town in 1979 invaded by a strange alien creature that was written and directed by J.J. Abrams and produced by Steven Spielberg.  With that pedigree in mind, I took off work early to take the little monsters to see it in the hopes that it would do what the trailers seemed to promise – capture the feeling of those uniquely American summer movies of the 70’s and 80’s like Close Encounters of the Third Kind, E.T. and The Goonies that mixed action, laughs, and special effects together in a way we see all too rarely in the Michael Bay world of today.

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Yeah, it kind of did that, I suppose.  Except I was too busy wondering why the central premise somehow had to be that American military personnel are sadistic, bloodthirsty, cold-blooded murderers.  Then I remembered that this is Hollywood.

Now, to talk about Super 8, I will have to reveal what some might call “spoilers.”  Except, they aren’t really “spoilers” because to be that the plot points I reveal would have to be unexpected and surprising.  Sadly, Super 8 adopts the same tiresome clichés that have been wrecking Hollywood films for the last 40 years.  The only surprise was the total lack of any surprise.

What do we have? Crazy, evil military officer as the baddie?  Check!  Kid with daddy issues?  Check!  Climax where the hero rescues the girl from monster’s lair?  Check!  Monster that is the real victim even though he’s freaking killing US military people and eating civilians left and right?  Check?

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As a kid, J.J. Abrams was inspired to make films with his Super 8 camera by Steven Spielberg’s “E.T.,” “Close Encounters of the Third Kind” and “Raiders of the Lost Ark.” As a teenager, young Abrams’ work attracted the attention of Spielberg, who hired him to cut together his old 8 mm home movies. Years later, they’re working together to bring their childhood memories of moviemaking to the big screen, with Abrams as writer and director, and Spielberg as producer. 

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The collaboration, “Super 8,” covers familiar territory for the two heavy hitters. It’s a combination of two stories that were, until recently, simply figments of Abrams’ imagination. The first story idea was to make a film about kids making Super 8 films, and the other involved a train carrying cargo from Area 51. The two collide in “Super 8,” a tribute to Spielberg’s earlier work and a chance for both to get back to where they once belonged. 

Set in 1979, “Super 8,” features a group of early teenage kids from small-town Ohio using their summer to make a horror film. While filming at a train station, a military train passing by derails in an explosive mess. They leave as troops arrive to secure the scene. About then, car engines and power line begin to disappear. The kids, unable to put the train’s derailment out of their minds, start to investigate. 

Due to the meshing of two stories, there are definitely two sides to this film. One is Abrams’ attempt to recapture the childlike wonder audiences felt when watching E.T., putting themselves into the shoes of young Henry Thomas and Drew Barrymore. The other is his attempt to make “Super 8” as technically impressive and action-packed as “Transformers,” and as cutting edge as Spielberg’s early films were. It’s a fine line to walk. 

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A Terminator mega-robot is fun to watch only if he (it?) is making his (its?) marauding way toward its target; generally, that’s the good guy in the movie who, by superhuman strength and unprecedented cleverness, will dispatch said Terminator in the last reel. Every Terminator movie has been defined by this simple conflict: man versus super-machine.

Not this time. And that is why, despite spectacular visual effects, a brooding and hyper-popular Christian Bale in the lead role, and marketing that pretty much stamped the title across my kids’ foreheads, Terminator Salvation is not nearly the success that the other three movies were.

John Connor and his mom (and his friends and pretty much everybody else with whom they ever come in contact) become instant targets for future-born Terminator robots. The setup is pretty straightforward. The time is present day. (more…)

Despite early polling data showing a distinct lack of enthusiasm toward the Star Trek movie reboot by J. J. Abrams (Lost, Alias, Cloverfield, Fringe, Felicity), the film had an excellent opening weekend at the U.S. movie box office.

The film took in an estimated $72.5 million over the weekend. Even when adjusted for inflation, that’s far more than any of the previous Star Trek movies took in.

This has cultural significance beyond the fortunes of the Star Trek franchise and its studio. As I noted in writing about an Abrams interview last fall, Abrams said “he was drawn to the idealism behind the franchise. He hopes to make a more optimistic point of view as popular as the somewhat bleak vision of The Dark Knight was.” (more…)

Every action picture is a science-fiction picture anymore. How else to explain Hero Survival In A Hail of Bullets, Inexhaustible Supply Of Energy In A Street Fight, and the Amazing Car That Still Operates After Driving Off A Building? Star Trek is not an exploration of an alternative physics or the ramifications of technology that’s possible only after the intractable engineering problems have been solved. Star Trek is an action picture set in space. It’s good fun, it’s exciting and engaging, it nods to a few perpetual icons of pop culture, and it’s even suitable for families. What’s not to like?

The most notable achievement here is the extraction of the franchise from fanboy fever swamps into mega-mainstream entertainment. The first three or four Star Trek movies were events with fanfare and media pomp, but after that they diminished into little more than baubled-up TV episodes for fans. You had to know not only the characters but also the Star Trek “universe” to really care about what was going on and why. But this picture works for anybody who even stumbles into it: Kirk is a tough guy, Spock is a smart guy, the rest are identifiably quirky in a Syd Field kind of way, and everybody who aspires to be above the title in their next movie is sexy. (more…)

Rebooting Bond with Daniel Craig was Bold. Christopher Nolan’s Reinvention of Batman was genius. But some thought it was overly-ambitious, even audacious, to attempt to restart the Star Trek franchise. It has begun to pay off already for Paramount Pictures, and there will dividends for years to come.

A shiny new Enterprise is luring in a new generation of STAR TREK fans

J.J. Abrams is officially the Lazarus of movie directors as his all-new Star Trek has gone “Boldly Gone Where No Star Trek Movie has Gone Before.” With a cast of relative unknowns, the 42-year-old has resurrected a franchise that had been killed by insular “nerdyness” and timid imagination. The Gene Rodenberry creation didn’t so much bomb as it died slowly over a period of years. First, the 2002 movie Star Trek: Nemesis starring the Next Generation cast disappointed with a meager $43.3M domestic. Then, the final TV series Enterprise, which starred Scott Bakula, was not embraced by core fans or broader audiences and was canceled after four seasons, ending May 13, 2005.

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J.J. Abrams reboot of the much beloved “Star Trek” franchise is reminiscent of the films that came before, but not the best of them. Like the other odd-numbered disappointments, this entry, number 11, works best when concentrating on character, but falls flat due to a dull villain with nothing to do other than act as a macguffin. After a splendid first hour expertly sets up and re-introduces the characters, the second half turns as derivative as a video game with superb special effects supporting poorly choreographed and frantically edited action sequences that carry no suspense because the outcome is obvious and the personal human drama missing.

“Trek” opens with what turns out to be its best scene and one of the best in the franchise; the circumstances around the birth of James Tiberius Kirk. Our hero is well-served here with an imaginative and exciting mythology that shows the filmmakers understand the unique importance of the character. This sequence is also effective in setting up our villain, the Romulan Nero (an almost unrecognizable Eric Bana), who’s leaping about in time hell-bent on the worst kind of revenge against the Federation for something yet to happen. (more…)

Several sources at competing studios have told me that J.J. Abrams’ all-new reboot of Star Trek (Paramount), which debuted last night at 7pm at many of its 3,849 locations, may have grossed as much as $6.5M-$7.5M. Studio honchos are “locked down tight” about actual numbers, but that is in the same ballpark as Transformers (Dreamworks/Paramount), which grabbed $8.8M in its previews starting at 8pm on Monday, July 2 during the summer of 2007. (What portion of ticket sales fall into Thursday and what percentage fall into Friday will likely be an open question even after final numbers are in.)

William Shatner (left) with Captain Kirk 2.0 Chris Pine

Keep in mind that Paramount never changed its Star Trek marketing to promote the 7pm Thursday start, so the opening night audience was likely heavy on Trekkers or Trekkies (not sure which term is “politically correct” anymore). So this was a “soft” opening and what amounts to a night of word-of-mouth screenings. Keep in mind that Transformers premiered during the summer when kids are more available while Star Trek has made its premiere during the school year.

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Have at it.

Discuss. Debate. Write your own review…

The all-new J.J. Abrams reboot of Star Trek (Paramount) will win the second weekend of the Hollywood Summer Box Office season by at least a couple of light years over Fox’s fast-fading X-Men Origins: Wolverine, but some of the astronomical numbers I’ve seen floating around in the blogosphere are very over-heated. Make no mistake, this movie will open extraordinarily well, but it’s not going to play out as a typical front-loaded blockbuster. Moviegoers need time to shake off the disappointment of the final TV series Enterprise (starring Scott Bakula and canceled after four seasons) and the disastrous 2002 final film Star Trek: Nemesis ($43.3M domestic). It will take time for a new generation of fans to discover the magic of Gene Rodenberry’s vision of the future through Abrams’ magical lens.

As of Wednesday night, Star Trek is cruising with 94% Fresh (positive) reviews on Rotten Tomatoes, and critics are slinging some seriously glowing hyperbole.

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Even before “Star Trek” launches into the stratosphere this weekend, director JJ Abrams is taking a victory lap.

With the film hogging 81% of all ticket sales at Fandango.com as well as the covers of Newsweek, Entertainment Weekly and Wired (which Abrams guest edited), the director has just done a great sit down with Charlie Rose. 

Now Rose can be an enormous chucklehead when interviewing Hollywood types (especially pretty ones), but that doesn’t matter. Abrams is smart enough to make it interesting on his own.

He talks about the influence of Richard Donner’s “Superman,” which he says gave “a kind of legitimacy” to comic book subjects they’d never received before. Donner “respected the characters as much as the audience,” Abrams says. “They were funny. They were real.” (more…)

In my Final Weekend Tracking column posted on Wednesday, I predicted that X-Men Origins: Wolverine (Fox) would reach $92M on opening weekend, despite soft reviews (now only 38% Fresh on Rotten Tomatoes). My first fearless forecast of the 2009 summer blockbuster season appears to be close to dead-on (missed by only 5%).

Star-turned-producer Hugh Jackman has scored his second-biggest opening ever and, easily, his biggest as a solo star. Wolverine has mauled the competition with a massive $34.75M opening day (including $5M or so in Thursday midnight sales). That could translate to a 3-day of $86.8M, getting Hollywood’s most lucrative season off to a spectacular start.

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The great thing about a sequel is that it has a built-in audience. The problem with sequels is that, as the numbers after the title go up, so does the production budget. Very hard to know for sure, but sources have told me that the production budget for X-Men was in the $75M range. X-2: X-Men United may have had a budget of about $110M, while the cost of X-Men: The Last Stand was, in all likelihood, as much as $210M. Why doesn’t it make sense to just churn out X-Men 4?

Look at these numbers.

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Recording superstar Beyonce Knowles is building a bankable resume for herself as an actress with Sony Screen Gems’ Obsessed as the latest title burnishing her resume. Co-starring the excellent Idris Elba (The Wire), this low budget, PG-13 genre pic has scored a far-above-expectations $11M on Friday, and it will likely reach $27.5M for the weekend. That is the best opening yet for the former Destiny’s Child lead vocalist as an above-the-title star, topping 2003’s The Fighting Temptations and Cadillac Records from late 2008.

Beyonce does battle with the sexy Ali Larter (HEROES) in OBSESSED

OPENINGS FOR BEYONCE MOVIES
1. Austin Powers: Goldmember – $70.3M opening
2. Obsessed – $27.5M opening (projected)
3. Pink Panther (2006) – $20.2M opening
4. Dreamgirls – $14.1M wide break (after a platform start)
5. The Fighting Temptations – $11.7M opening
6. Cadillac Records – $3.4M opening

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The final weekend of April has never been Hollywood’s favorite release date. In fact, it is generally considered to be among the worst release dates on the calendar. Whatever opens on the final weekend of April gets absolutely crushed by the official start of the summer blockbuster season on the first weekend of May.

The 4 new wide releases and 1 major specialty release set to debut this weekend will face an onslaught of mega-hits over the next month. How can Obsessed (Sony), Earth (Disney), The Soloist, (Dreamworks/Paramount), Fighting (Rogue) and The Informers (Senator) possibly find an audience with X-Men Origins: Wolverine (Fox) and Ghosts of Girlfriends Past (Warner Bros) arriving next weekend followed by, in successive weeks, Star Trek (Paramount), Angels & Demons (Sony), the combo of Night at the Museum 2 (Fox) and Terminator: Salvation (Fox) and Disney/Pixar’s Up?

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As a veteran, I want to say “Thanks” to Hollywood.

Too often, the only thing we hear about the Industry is that a new movie is coming out that portrays our soldiers as near mindless half-wits turned into raving murderers by America’s unjust wars. But that kind of nonsense is not the whole story.

Recently, J.J. Abrams, the director of the new “Star Trek” re-boot packed up cast members like Chris Pine, Eric Bana, and the lovely Zoe Saldana and flew off to premiere their film. This premiere was not for a bunch of overpaid, over-pampered movie stars in some gaudy theater. Instead, it was in a dusty hangar in the Middle East, and the audience was made up of our troops. And that is not the exception. (more…)

Over the weekend, I was pondering why the low budget, standard genre pic The Haunting in Connecticut (Lionsgate) has become a nifty little box office hit. The film added almost $9.5M over the weekend for a new 10-day cume of $37M, and the only conclusion I have been able to reach is that it’s all about the poster.

Creepy, right? I have not seen Haunting and will probably wait for DVD or pay cable, but that is a weird, startling, attention-grabbing image. As a movie junkie, I love good movie art. The best movie posters are evocative. They capture what a movie is all about without giving away the mystery. There are certain movie posters that instantly put me back in that theatre experiencing the film for the very first time. The best movie posters are not just promotional tools. They stand as a work of art on their own. These are my favorites, buit it is by no means a definitive list. Feel free to add your favorites (and subtract any of mine).

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What to resent more? The fact that they’re raping my childhood or that they’re forcing me to use the term, “raping my childhood?”

Here you have these larger-than-life, legendary characters to work with and what are they doing? Making the Starship Enterprise look like a casting session for “High School Musical: The Pouty Prom.” (more…)