STARS DISS HOLLYWOOD: CLOONEY, EDGERTON & MORE SWIPE AT COMMERCIAL MOVIE BOMBS

Let me sum up the thoughts of the stars quoted in this article in five words: Me, me, me, me, me.

None of the so-called stars quoted here are talking about the customers. They are talking about themselves, especially George Clooney, who’s likely scared to try something openly commercial for fear if it flops, even the Huffington Post won’t call him “Hollywood’s pre-eminent A-lister,” as they laughably do here.

…and I hate it when a shit movie comes out that’s obviously made just to make money[.] – Joel Edgerton

At least those shit movies are trying to please the customers, and there actually is something worse than a shit movie designed to make a lot of money and that’s pretentious, self-important shit movies designed to make no money at all.

In related news….

ACTORS EGOS REQUIRE MASSAGING TO FORGE AHEAD WITH VOD

Ongoing discussion at WankFestDance:

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There are small but key roles in great movies that make a crucial difference in the way a film turns out. Think of Marlon Brando getting the top billing in “Superman” for less than 15 minutes of time as Jor-El, the Man of Steel’s father.

In the new Oscar-buzzed film “The Descendants” by Alexander Payne (“Election,” “Sideways,” “About Schmidt”) George Clooney may be getting all the glory for his terrific lead performance as Matt King, a real estate mogul who has to deal with his comatose wife’s wishes to die at the same time he is forced to become a better father to his two daughters.

But it’s when he learns that his wife had been cheating on him with a smarmy-looking real estate agent named Brian Speer that the film really takes off, as he sets out to find Speer in order to gain closure.

It would be easy to play Speer as a heartless cad, and a lout who callously disrupted the family life and betrayed the marriage of another man. But as Speer, actor Matthew Lillard delivers a powerfully nuanced performance that actually makes viewers feel his pain as he begs for forgiveness from King and also begs King not to tell his own wife what he had done.

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Come July 3, 2012, Andrew Garfield will be forever known as either the Amazing Spider-Man or the sap who ruined a perfectly good reboot.

Can the British actor, who previously appeared in ‘The Social Network’ and ‘Never Let Me Go,’ spin a web, any size, that catches thieves, just like flies? And what about Henry Cavill, another relative unknown tapped to play the lead in ‘Man of Steel’ hitting theaters in 2013?

Sometimes looking into an actor’s past can reveal plenty about their future prospects. And, in the case of those cast in superhero franchises, there’s a lot riding on just how heroic they can appear on screen.

So let’s recall how other actors prepared for their super close-ups and what happened once they tugged on those unforgiving tights — or, in the case of George Clooney, poured themselves into an uncomfortable cod piece.

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Just got this video and wish I’d known about it sooner. This beautiful, heartfelt tribute opens with Robert DeNiro’s stirring words and closes with Five For Fighting (John Ondrasik) singing a moving acoustic version of his hit “Superman.” 

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On a couple of occasions, I’ve had the privilege of seeing Ondrasik play live and his ability to mesmerize a crowd using nothing but a piano and his voice is something you never forget.

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EXCLUSIVE: KEITH DAVID JOINS WACHOWSKI’S ‘CLOUD ATLAS’

One of the most underused, under-appreciated actors in Hollywood is The Mighty Keith David, a true screen talent and presence who has made every project he’s been associated with better since his first major role in John Carpenter’s “The Thing.”

Nothing’s been formally announced yet, but I’m told Mr. David is in Berlin working on “Cloud Atlas” after another actor didn’t work out. He’s joined an A-list cast that includes Tom Hanks, Halle Berry, Hugo Weaving Jim Broadbent and Susan Sarandon.

The Wachowskis are lucky to have him.

Here’s a synopsis of the science-fiction drama:

We already know that Cloud Atlas is going to be weird. Directed by Tom Tykwer and the Wachowski siblings, the project, based on the book by David Mitchell, is about six different characters with six separate storylines in six separate locations in six different eras and the actors will all be playing more than one role. If that isn’t enough, however, actor Ben Whishaw has informed Vulture that it gets even weirder. Speaking with the site to promote his new BBC show, The Hour, Whishaw revealed that not only are all the performers playing multiple roles in Cloud Atlas, but they will be switching races and genders as well. “I.m doing three,” the actor said.

If you want to know why I’m such a fan of the two-time Emmy winner, rent “Pitch Black” and “Requiem for a Dream” and closely watch his introduction scenes. If the story allows for any kind of nuance, David never shows all of his cards and therefore you never fully know what the true intentions of his characters are. In both of those films, when you first see his character, you have no idea whether he’s a good guy or a villain. Best of all, throughout the rest of his performance, you’re always under the impression that at any time he could turn in some unexpected direction.

Something’s always hidden, something unseen and unspoken is always going on. With little help from the script and using only his talent, David always tries to give his characters an inner-life, which makes him an actor with a very rare quality today… He’s interesting.

WHO SAID THESE WORDS IN A 1988 SPEECH OPPOSING THE ALTERING OF FILMS:

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There’s been a lot of discussion this summer about the failure of so many superhero films. They’re making money, but not nearly as much as expected. And until Captain America came along, it seemed to be getting worse with each passing film. Any number of explanations have been offered for this underperformance. Some suggest ticket prices are the problem. Others say it’s because the current crop of superheroes are second tier guys, i.e. the B-Team. Some blame oversaturation. But I don’t find those answers satisfying.

If you have a problem, if no one else can help, and if you can find them, maybe you can hire... The B-Team.

If ticket prices were the problem, then you would see a drop for all films. But there’s been no such drop. The “second-tier superhero” argument doesn’t wash either. It’s hard to argue that Iron Man or X-Men were “first tier” superheroes before they hit it big in theaters. And nothing is more first tier than Superman or the Incredible Hulk, yet both have struggled — not to mention Wonder Woman, who can’t even get a series off the ground.

The oversaturation argument is intriguing. On the one hand, oversaturation cannot be THE problem because people wouldn’t turn out for surprise hits like Captain America if they were just sick of superhero films generally. Also, if oversaturation really was THE problem, then why don’t slasher flicks or romcoms suffer from this? Those genres have been steadily turning out the same film year after year for decades. Still, I do think oversaturation plays a part in this puzzle. In particular, oversaturation makes these films less special, which makes people more selective. Being more selective means people are less likely to see films they don’t think are worth their time or money. But what is it that is causing people to choose some superhero films over others? In a word: plot.

Hollywood is using a bad formula for superhero films.

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Via Voices From Krypton:

“In the pantheon of superheroes, Superman is the most recognized and revered character of all time. Clark Kent/Kal-El (Cavill) is a young twentysomething journalist who feels alienated by powers beyond anyone’s imagination. Transported to Earth years ago from Krypton, an advanced alien planet, Clark struggles with the ultimate question – Why am I here? Shaped by the values of his adoptive parents Martha (Lane) and Jonathan Kent (Costner), Clark soon discovers that having super abilities means making very difficult decisions. But when the world needs stability the most, it comes under attack. Will his abilities be used to maintain peace or ultimately used to divide and conquer? Clark must become the hero known as “Superman,” not only to shine as the world’s last beacon of hope but to protect the ones he loves.”

Let’s take a poll:

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Ed. Note: Part two of this excellent series runs tomorrow at the same time. — J.N.

I will come right out and admit it. I am a geek. I am a hardcore geek. I revel in many different realms of geekdom. Amongst the fields where I am most comfortable with my geekdom is in comic books. I’ve been reading comics books since, well, I could read. During my early childhood, comic books were just entertainment, something to do when waiting at the supermarket whilst my mother shopped or to pass the time in line at the barber. There were the piles of Archie and Richie Rich comics that my grandparents stocked up on for the times a dozen grandkids would descend upon their house for summer vacation. In the end, I didn’t really care about comics themselves, just the ten minutes it would take me to read through whichever one was at hand. There was no appreciation of story arcs or pacing, art work and coloring, dialogue and continuity, all of these things were foreign concepts.

It wasn’t until I was about thirteen that a classmate of mine showed me that comic books were a world of their own. He had boxes and boxes of carefully stored books, each one in an individual bag with a cardboard backing to keep the spines straight. He was able to tell me about which stories were worth following, why Marvel characters were better than DC, and showed me where to go to get the best deals. I was hooked. From then on, I spent every spare penny of pocket money and any other money I earned on comic books. Throughout my high school years, I bought thousands of books, all still in their individual bags with cardboard backs, alphabetized, and organized by publisher.

The genre has changed dramatically since I started following it back in the 80s. It is, to some extent, still dominated by the two major players, Marvel and DC, each of which has its own diehard adherents, but there is now a plethora of thriving independent publishers, each one pushing the envelope in both art and with storytelling. More importantly the consumers have evolved. The geeks who grew up in the 80s, downtrodden and ridiculed by the jocks are the engine that drove the technological revolution of the 90s. They now find themselves hitting middle age flush with success at being the new arbiters of cool and that cool is the geekdom that they grew up loving; comics.

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–‘RIDDICK 3′ SET TO START SHOOTING IN SEPTEMBER?–

Not only am I big fan of Vin Diesel’s, I’m an even bigger fan of both of his Riddick films: 2000’s “Pitch Black” and the much more ambitious follow-up, 2004’s “The Chronicles of Riddick.” “Black” is a hands-down brilliant B-flick, perfectly structured and paced with a well-executed concept and superb cinematography. “Riddick” is director David Twohy’s (he did both films) attempt to layer Diesel’s Riddick character in all kinds of mythology, something I felt worked beautifully thanks to a compelling story and a strong central performance by the underrated Diesel.

The failure of “Riddick” with critics and at the box office didn’t really surprise. People were expecting another lean, mean “Pitch Black, not a space opera. This initial reaction kept me from seeing the sequel in theatres, but when I finally caught it on DVD I was blown away. In fact, I remember the DVD stopped playing about 100 minutes in and making a frantic and rather pathetic near-midnight drive to Blockbuster for a replacement.

On television, “Riddick” appears to have finally caught on with its intended audience, which may be why a third chapter is being considered. Also, Diesel’s star is back on the rise thanks to the surprising popularity of his other terrific B-movie franchise, “Fast and Furious.”

In this pathetic era of overlong, complicated plots and meterosexuals, I have a great appreciation for Diesel, especially his work in the action genre.

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–FINAL CHAPTER OF ANDREW KLAVAN’S HOMELANDERS’ QUADROLOGY RELEASED TODAY–

A very well-written, page-turning adventure series for the kids. God, country and values are treated as good things. On the other hand, terrorism and narcissism are treated as bad things. I think the word we’re searching for in this upside day and age is: Iconoclastic.

You can order the book here. I recommend all four. Klavan’s an amazing talent who also happens to be on our side. What more could you possibly ask for. Did you just say a film based on the series?  Done.

Klavan blogs here and here.

–KEVIN COSTNER UP FOR VILLAIN ROLE IN NEW TARANTINO FLICK–

I’ve always liked Kevin Costner and was sorry to see his career all but derail 15 years ago with the triple-punch of the underrated “Waterworld,” the truly dreadful “Postman” (which even Tom Petty couldn’t save) and the stillborn “Wyatt Earp.”

Costner’s masculine, has a genuinely likable screen persona, and seems like a decent guy in real life — and in the right role he’s a very, very good actor. Try to picture someone else in “Field of Dreams,” “The Untouchables” or “Dances with Wolves.” You can argue he’s no Olivier ( I would counter with his unforgettable work in “A Perfect World), but at the same time he’s always managed to hold his own on screen with some powerful actors: James Earl Jones, Robert De Niro, Robert Duvall, Morgan Freeman, Sean Connery, etc — which is a talent all on its own.

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Today, you can’t swing a dead cat at the movie theater without hitting another big budget adaptation of a comic book property.  I remember when I was a kid, I’d lurk around the local comic book shop and devouring any Spider-Man comics I could find, but the idea of a Spidey movie, or any superhero movie for that matter, seemed like a pipe dream.  Sure we got those Batman movies, but seeing Batman & Robin was like watching Hollywood take advantage a family member while wearing a diaper and an ape mask.

Now, comic book movies are everywhere.  Twelve-year-old Hunter would probably be in hog heaven, but to my adult eyes, the market feels bloated and overstuffed.  But for a market to get that way, you have to have had your share of good movies, and Sam Raimi’s Spider-Man, Christopher Nolan’s Batman Begins, and Bryan Singer’s X-Men helped remind Hollywood that people love them some superheroes.

Ultimately what superhero movies do, specifically the first entry in the series, is build a mythological foundation.  The blueprint for the proper way to go about it is Richard Donner’s Superman: The Movie, which is included in the big new Superman box set coming to Blu-ray this week.  The original concept for Superman was to make a campy exercise a la the Batman TV show with Adam West.  There was even a scene in the original script involving Superman meeting Telly Savalas of Vegas fame, in which Supes yells “Who loves ya, baby?!”

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Via Bleeding Cool:

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If you remember, in David Goyer’s most recent issue of DC comics’ Action Comics, Superman got all sanctimonious and Leftist about being an American citizen and huffed his intention to renounce his citizenship: “‘Truth, justice and the American way’ — It’s not enough anymore.”

Whatever.

According to Bleeding Cool, though, Superman is something of a schizophrenic and maybe even a super-secret neocon because in today’s edition of DC Comics’ Superman he’s all about The America again.

Above is the first frame of the comic’s closing page, below the fold you can read the rest…  (more…)

For those who wish, please watch this quick clip then read the article:

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Superman was created by the sons of Jewish immigrants – Jerry Siegel and Joe Shuster, and they had a love for America.

When I was growing up as a kid on Long Island, we couldn’t wait to see
the next episode of Superman on TV or get the latest comic. I wanted a Superman costume for Halloween. I proudly wore my red cape and believed I was fighting for truth, justice, and the American way. So did most of my friends. Years later, my two sons – years apart – alsowanted to be the Man of Steel for Halloween.

This may no longer appeal to the bright eyed youth of America. Never will Superman be part of the lexicon for American pop culture. DC Comics, for whatever reason, turned its back on America. Will Superman now fight for Sharia Law to be adopted into England, France, and Germany? This act shows more than anything else the depth that a socialistic based education system has indoctrinated minds and created a cultural battleground for the soul of America.

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Full coverage of this great moment for America, our military, our intelligence community,  President Obama and President Bush at Big Peace. 

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Big Hollywood officially gives all of our superhero delegates over to…

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DC Comics is owned by Warner Brothers. In what is either a move to make Superman more globally appealing leading up to his upcoming film, or a reflection of the globalist mentality in the DC corporate offices, it was revealed yesterday in Action Comics 900 that Superman is renouncing his American Citizenship.

Which is a huge mistake in many ways, but a sad reflection of our times.

What wannabe-elitists fail to understand is what the “American Way” Superman stood for is all about. Superman was created in the late 1930s by two Jewish teenagers, Jerry Siegel and Joe Shuster. They created Superman at a time when Nazis were rising to power and taking over Europe. When communists had taken over Russia. Superman stood for freedom and justice and fought for the allies during the war because, not only were his two creators patriotic, they understood the threat to freedom that existed out there. Superman, like America, was fighting for the people of the world. He was a bringer of justice and peace at a time when organized crime was rampant in America, when fascists where threatening executing innocents in death camps and conquering the globe.

Superman was unique, the last survivor of the planet Krypton, just as America was unique in the world, a nation founded on the principal of freedom of speech, freedom of religion, a constitution with limited government that guarantees the rights of the individual. It stood in stark contrast to the rest of the world, which was mired in despotic regimes, kleptocratic states, not unlike today.

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Wired:

Superman renounces his U.S. citizenship in Action Comics‘ record-breaking 900th issue. But that’s not all the benevolent alien refugee does in the sprawling special issue, which hits stores Wednesday.

The Man of Steel throws down in outer space against a continually misguided Lex Luthor, who’s finally rewarded for his boundless ambition by becoming a petulant god. Supes also throws a pizza party with Lois Lane for his Kryptonian pals, who crowd his couch while chowing grub and chewing scenery. He talks cosmology and philosophy with an interstellar deity beset by guilt over civilizations he was perhaps too selfish to save, and goes head-to-head with a one-time pro athlete who’s become a superheroic show-off. 

It’s just another day in the life of Earth’s most recognizable comics immortal, in a landmark issue penned by all-stars from film, television and comics. Previewed in the gallery above, Action Comics No. 900 features stories penned by Doctor Who’s Paul Cornell, Lost’s Damon Lindelof, Superman: The Movie director Richard Donner, The Dark Knight screenwriter David S. Goyer and DC Comics’ chief creative officer, Geoff Johns. …

It’s a sobering moment, as obvious as it is revolutionary. Superman’s conscientious creators, Jerry Siegel and Joe Shuster, who dreamed up Superman for Action Comics‘ 1938 debut, positioned their deathless hero as an American heartland warrior battling tyranny and evil.

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This is about as good of a decision as director Zack Snyder could make in an era where we cannot yet clone Margot Kidder, who represented one of the all-time great casting choices in film history. Amy Adams conveys strength and intelligence, but most of all she’s a woman and not a girl. This also telegraphs that the character of  Superman (who will be played by 27 year-old Henry Cavill) will be portrayed as SuperMAN and not a SuperBroodingMetrosexual as we saw in the dreadful “Superman Returns.”

I don’t know anything about her background, but at least Amy Adams looks like might have at one time not lived in the San Fernando Valley and experienced some life outside of a mall. She can also convey Lois Lane’s spunk without completely getting on my nerves. All in all, a very promising casting choice. Most of all, though, the choice shows the director’s confidence in his lead actor to hold his own. Adams is a star in her own right with real charisma.

Superman’s going to have his hands full.

The Los Angeles Times:

The 36-year-old star got the news on Sunday from director Zack Snyder, who phoned her from Paris, where he was promoting his just-opened film, “Sucker Punch.” There had been a crush of Hollywood interest in the lead female role in the Warner Bros. project but Snyder said that after meeting with Adams, she was the clear choice to take on a character that dates back to 1938 and has long represented the strong, professional woman who can hold her own against any man – even if he can leap tall buildings in a single bound.

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In order to not make the pro-American films that so offend them, Leftist Hollywood lies and tells us pro-America doesn’t sell at what we’re told is the increasingly important foreign box office. And the hopelessly butt-boy entertainment media is always ready to help spread that lie. We knew that was a lie last year and now this year the single BIGGEST weekend for foreign grosses was captured by the openly pro-American, pro-U.S. Military Battle: Los Angeles.

In just 12 days, Battle: LA’s foreign take is $52 million — and this is a big-budget action film with no stars. However, during its entire run, the stridently anti-American “Green Zone” cleared only $59 million overseas, another big-budget action film, but this time with a big star and director. Wonder how Matt Damon likes them apples?

Oh, and congratulations to the new Narnia film for exceeding $300 million overseas, for a total take thus far of over $400 million worldwide. I guess in a world with a billion Christians Christianity does sell. Who knew?  

THR:

Battle: L.A.’s overseas gross accumulated over a dozen days stands at $51.9 million. The latest weekend gross is the highest of any No. 1 weekend tally recorded this year on the foreign circuit.

Meanwhile, Fox’s The Chronicles of Narnia: Voyage of the Dawn Treader passed the $300 million mark overseas, and Black Swan breached the $175 million barrier.

Maybe Leftist Hollywood’s going to tell us that America sells overseas today because Obama’s president – he’s not Bush and our overseas neighbors like him more because he closed Gitmo, oh wait; because he ended indefinite detentions, oh wait; because without Congressional approval he would never attack a Middle Eastern, oil-producing nation that wasn’t a threat to us, oh wait; because he wouldn’t fight a war of choice, oh wait; because… because… because…

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First, some background.

Two years ago, on a cloudy and cold Saturday morning, I met a guy in a K-Mart parking lot to hand him the cash in exchange for the goods. We nervously approached each other, after he arrived in his beat up ’89 Grand Am. I gave him the money and he gave me my fix… enough to keep my girlfriend Jamie and me happy for a few weeks. After I checked each “Smallville: Season 4” DVD for scratches, the deal was done. I headed home and we watched five episodes that day.

For me, the show has always been about young Clark Kent’s ascension to greatness. He knows, and the show explores, that he was delivered to Earth to rescue mankind from its own frailties. In fact, “Smallville” added a piece of mythology to the story: that his father Jor-El of Krypton specifically chose the town of Smallville, Kansas, right in the heart of the United States of America because his dense molecular structure could help the world (via Clark’s learned perspective as the adopted son of middle-Americans who would teach him morality) to regain moral balance.

Painting by Michael Wilson

Deeper “Superman” mythology aside, the narrative of “Smallville” is light and airy. It deals with the very-heavy-at-the-time-but-not-really-consequential stuff we all dealt with as teenagers. My favorite shot from all 10 seasons is from Season 2 – a solitary shot of Clark, alone in his barn-loft hangout. He had just been watching through his telescope as Lana Lang reconciles with her boyfriend (who Clark used his superpowers to save, denying himself the chance to win the girl). He is alone and sad in his power, and hangs his head… cut to black. That inner struggle makes the show worthwhile. It has also, at times, been a bit like the teeny-bopper-rock-pop my daughter listens to, and that I genuinely, genuinely enjoy.

Go to hell. So what if I like autotuned vocals and melodic guitar riffs over manufactured drum tracks that have been Focus-Group tested by Nickelodeon and Disney and that tie into their programming?

The show spent its nine seasons arcing through both Clark’s internal struggle and Superman mythology. It’s done a better job than not of both adding to and borrowing from the existing canon. Tom Welling has proven to be a perfect casting choice from Day 1, bringing a beautiful humanity to the Kryptonian savior (I’d rather he play Supes in the upcoming WB/Zack Snyder reboot, but since Snyder is the most badassed director of comics-turned-flicks on earth, I trust his judgment). It has also inspired a devout following of people who know right from wrong, and who believe you should do whatever you can to help people remain free to pursue their own happiness. After nine seasons, it was time to wind down the show.

And now, the point.

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If you’re hip to the movie news, by now you know that British actor Henry Cavil has been cast as Superman in Zach Snyder’s upcoming reboot.  That’s right, a man born and raised in the British Isles will be portraying an American icon.  When it was announced, many in the blogosphere assumed that we “wingnut fascists” would be outraged at the thought of an non-American playing the Man of Steel.  They assumed that our narrow-minded jingoism would prevent us from endorsing a solid actor nabbing the lead role in a highly anticipated film.  As usual, they were wrong.  We true film buffs could care less where the actor hails from, we just want a movie that is true to the character and kicks some ass.  Bryan Singer’s “Superman Returns” had an American Superman, but failed miserably in the aspects that mattered most.  It wasn’t true to the character and didn’t really kick any ass.

But the casting does reveal a couple of interesting things.

Contrary to the propaganda coming from the Hate-America crowd, we are far more open to such things than other cultures, especially the British.  There was a lot of snark when Gwyneth Paltrow and Renee Zellweger applied their best British accents to their portrayals of Emma and Bridget Jones.  Plus, I doubt that the producers ever entertained the idea of casting an American Harry Potter or a Dr. Who born in Iowa.  What about James Bond?  Not only have they never considered Americans for the lead role, but they’ve turned down both Steven Spielberg and Quentin Tarantino as directors.  Every Bond director has hailed from a Commonwealth nation.  Apparently, it’s okay for other countries to maintain “national treasures” and “cultural icons,” but for Americans to suggest doing the same means we’re racist, nativist, and generally close minded.  You see, to the rest of the world, we don’t actually have a culture.  How can we?  We are a nation made of other nations, a population of hyphenates who lack a common identity.

Well, this Prussian-American filmmaker calls foul.

Not only is Superman a Brit, but as NBC points out, so are Batman, and Spiderman.  NBC mistakenly lumps Wolverine into the group, but any geek worth their salt knows that Wolverine a.k.a. Logan is Canadian.  And Hugh Jackman who plays Wolverine is Australian, not British.  Oh, well, more quality fact-checking from NBC.  We should be used to this by now. (more…)