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October 2007

Wanted Trailer

I'm having a little trouble finding the right words to describe my feeling after watching the new trailer for Wanted, starring Angelina Jolie, James McAvoy, and Morgan Freeman (See that?  I put the female lead's name first!  One commenter is going to be very proud of how far I've come so quickly...)

It's a struggle to put my finger on the exact emotions this trailer evokes.  Oh wait, I've got it:

"OH MY FREAKING SH*T!  MUST SEE THIS MOVIE RIGHT EFFING NOW!"

I should write poetry for children.

Note that this is directed by Timur Bekmambetov, who made the visually stunning Russian films Day Watch and Night Watch.  If you can find them, go watch those trailers too.  They'll make you tingle.

must... see... Wanted...

I am pumped.

Sigh...

First I was depressed last week by Anne Thompson's piece on how Michael Clayton isn't making money at the box office, but I didn't want to write about it just yet.

But today, Hollywood Wiretap and the Los Angeles Times are both covering the issue on a broader scale.  No independent films are making money, and the major studio dramas are struggling also.  Here's a sampling, in no particular order:

In the Valley of Elah Warner Independent $6.6 million
Lars and the Real Girl MGM $0.3 million
The Hunting Party MGM/Weinstein $0.9 million
Sleuth Sony Pictures Classics $0.1 million
Reservation Road Focus $0.04 million
Lust, Caution Focus $2.1 million
Rendition New Line $4.1 million
Things We Lost in the Fire Paramount/DreamWorks $1.6 million
The Darjeeling Limited Fox Searchlight $3.8 million
Gone Baby Gone Miramax $5.5 million
Into the Wild Paramount Vantage $6.5 million
Elizabeth: The Golden Age Universal $11.8 million
Michael Clayton Warner Bros. $22.7 million
The Assassination of Jesse James... Warner Bros. $2.2 million
Eastern Promises Focus $16.9 million

There are plenty of excuses reasons for this - poor marketing, too many dramas in the mix, piracy, NC-17 ratings, some of these films haven't gone wide yet (but they won't if they don't perform well when they launch), poor reviews, and of course the easy way out: the depressing state of the world, "the war in Iraq, the housing slump, global warming, the fires..." says the LA Times.  What?  No Halo 3 to blame?  I enjoy pointing at the dumbing down of society, and we're all too busy at home worrying about Britney's kids and watching Dancing with the Stars or Deal or No Deal, but I think that's a scapegoat as well.

The theory that holds the most water to me, is that they are victims of their own success, causing a glut of films that were only attractive to limited audience already:

"Companies such as Miramax did so well that almost every entertainment conglomerate started its own specialty division, and a range of independent financiers, such as Sidney Kimmel Entertainment, also jumped into the fray."

It's also going to be crucially important for studios to keep costs low and perhaps think about this business model differently if there's a much more crowded market for competition.  There used to be a formula detailing how to platform release a film like Brokeback Mountain, The Queen, or even My Big Fat Greek Wedding, but with a limited audience, limited theaters and screens, and a much wider set of options for that small audience to choose from, studios may have to redefine what success means on this smaller scale.

Thank goodness Wild Hogs made $168 million and a sequel is on the way.  Shoot me.

UPDATE: Jeff Wells has jumped into the fray:

I slipped into a preview screening of [Before the Devil Knows You're Dead] last night. It was showing to a group of KCET subscribers -- an older, fair-minded group that likes adult prestige films -- and you just could feel the lack of excitement in the room as they walked out. You could cut it with a knife. They'd just seen one of the year's absolute best and most of them were thinking "hmmm, downer....not very uplifting!"

No? Really? Well, What About Simchat Torah?

Of the 10 questions you're not allowed to ask during a job interview ("Do you plan to have kids?"  "Do you smoke or use alcohol?") I was quite surprised at #7:

Do you observe Yom Kippur?

Really?  Yom Kippur made the top ten?  I'm stunned.  Why would that ever come up?!?  And why Yom Kippur?  I mean, if you're going down the Jewish angle, is Yom Kippur really the first holiday to come to mind?  How many non-Jews out there have even heard of Yom Kippur, much less had the burning desire to bring it up during a job interview.

I want to hear stories, any stories at all, where Yom Kippur came up in a job interview, and you weren't looking for a job as a rabbi or other employment at a Jewish synagogue.

Mind you, I'm not making a religious issue here.  I just thought this was flat out hilarious.  It's as if there are now thousands of recruiters out there muttering, "Damn!  Now I have to cross that Yom Kippur question off my list."

(Thx kottke)

Brilliant Movie Poster - Harold and Kumar 2 (and Trailer)

While the original film was a riot, we all know who stole the show: Doogie.

Clearly the makers of Harold and Kumar 2 are well aware of this phenomenon as they're basing some of their ad campaign around Neil Patrick Harris' character - WWNPHD?  You can see the trailer there also.

WWNPHD?

Yes, That's Right... Halo 3 is the Reason Your Movie Stunk

Ad Age and Portfolio.com are reporting that the success of Halo 3 is being blamed for The Heartbreak Kid flopping at the box office, among other things:Master Chief Pwned Ben Stiller?

"Word is that Universal Studios Home entertainment topper Craig Kornblau sent out an internal memo citing the video game as the reason sales figures for the Knocked Up DVD were less than hoped, and even the TV ratings took a few unexplained hits that were ascribed to the addictive sweep of Halo 3."

Nice.  It couldn't have anything to do with the fact that no one really wanted to see The Heartbreak Kid, could it?  I love how people are comparing it to the weekend box office total from the previous year, where a little film called The Departed came out.  It had some box office stars that you might have heard of, and I think it might have won some awards, like the Oscar for Best Picture... can't be sure... don't quote me on that.

Anyway, I'm sure that there are some people who didn't watch TV or go to a movie that weekend because of Halo 3, but there's no way it had as much of an impact as crappy marketing and (less so) terrible reviews.  I love how studio execs love to find excuses and blame everything else other than their own organization's work.

It's The Marketing, Stupid

I've written about this issue before, but as usual, David Poland says it much better than I ever can:

"...the Number One reason for the diminishment of the critic has nothing to do with the web or bad decisions by editors or box office chatter… it’s marketing dollars.  Period.  End of discussion.

Twenty years ago, spending $50 million marketing a movie domestically was virtually unheard of… and now it is fairly average for a major studio movie.  When Disney’s Armageddon was marketed domestically at a cost of almost $100 million in 1998, it was front page news in the Wall Street Journal. 

That kind of money blanketing awareness of and interest in a movie is inherently more powerful than reviews or any other publicity tool.  It has nothing to do with how many “bloggers” are writing about a movie or when.  It has nothing to do with the quality of the coverage or the criticism.  It has to do with human nature. 

People have used critics as arbiters of their choices because quality criticism was one of the few tools available to a civilian in making a choice about a movie or other ticket buying choice.  And people still build relationships with certain critics whose opinions they either agree or disagree with, but rely on to offer them insight into what buying choice they might make.  However, they have more content that is not opinion-based than ever.  They see more ads.  They have easier access to trailers, long the #1 determiner of choice in theatrical ticket buying.  And while they used to wait until a day or two before a movie to read criticism and/or features in their local media, they now have a treasure trove (or slush pile, depending on your POV) from which to choose before the local paper lands on the front porch."

Charlie Wilson's War Trailer

Starring Tom Hanks, Julia Roberts, and Phillip Seymour Hoffman.

Directed by Mike Nichols.

Written by Aaron Sorkin.

Charlie Wilson's War can't miss... right?

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Then why am I so nervous about it?  I found it interesting that the trailer doesn't say something like "written by Aaron Sorkin" until the credits... almost as if they don't want to reveal the film's politics, or they don't want the stink of Studio 60 infecting their marketing.

Still, I'll be first in line...

I Would Have Punched This Reporter

I don't want to give this reporter any extra attention, so I won't mention her name, but this interview with Joaquin Phoenix is rude, unpleasant, and completely unprofessional.  It's not entirely clear whether the interviewer has a 4th grade education or not, or if she just has a bone to pick with celebrities.  Thankfully, it's short.

The real reason I'm linking to it is because of the shockingly refreshing candor with which Mr. Phoenix answers the questions, until he finally loses patience completely (read the ending).  Sample:

What question are you most sick of reporters asking you? The one question I’ve been getting is: “Do you take this home with you?” And the truth is, no. But people don’t want to hear that. So it’s a weird situation, because you either tell people the truth, which is that there isn’t a whole lot going on, and then they don’t think highly of you. Or you just lie, which I do a million times.… “Oh yes, it’s really hard to sleep at night.” Yeah, it’s real hard to sleep when you have production assistants who will get you anything you want. You’re on a set where people are constantly taking care of you. It’s a piece of cake.

In We Own the Night, you play a hedonistic, drug-loving nightclub manager. That sounds like a fun role to prepare for. I never prepare. I think that’s completely overrated. It’s a very simple job. All you have to do is hit this bright mark, stand in the right spot and say the line. So I don’t really believe in preparation.

Smoking is Bad, Mmmmkay?

smoking1 I was a bit flabbergasted by the MPAA deciding to use instances of smoking in films during their decision making for what to rate movies.  It got a good amount of press, but nobody seemed all worked up about it... which surprised me.

Look, don't smoke.  Seriously.  Don't.  It will probably kill you.  Okay?  Cool.

However, should the amount of smoking in a film really play a part in what a film should be rated?  And if you say yes, what about other activities that may denote a risky lifestyle?  Sky diving?  Overeating fast food?  The aggressive driving in Herbie: Fully Loaded certainly set a bad example for today's youth... and yet it still received a G rating from the MPAA.  The horror! 

This doesn't even mention the amount of violence in today's horror porn that gets rated R instead of NC-17, and it's clear that you can't show sex onscreen, because that's infinitely worse than Hostel II (according to the MPAA), which will get you the dreaded NC-17 (see Lust, Caution). 

It's all so broken... but to me it comes down to money.  Studios make money on these horror films (or at least they did until recently - the Rob Zombie Halloween film did okay, but Hostel II got beaten up) so they're willing to make lots of them, and they'll fight the MPAA to keep them rated R.  Studios don't see smoking as a selling point (rightfully so, they won't sell more tickets for films that have more smoking in them) so there's no reason to fall on their sword over this issue, right?  It's only freedom of speech, the First Amendment - no biggie.

Anyway, I mention all this because ESPN's Tuesday Morning Quarterback (or TMQ) wrote up a great piece on the smoking vs violence issue, and I wanted to share:

In Scream IV, Good-Looking Teenagers are Trapped in the MPAA Headquarters and Stalked by a Madman with a Press Release: Tuesday Morning Quarterback asked in 2005, "If Hollywood won't show smoking because viewers are impressionable, how come the movie industry eagerly glamorizes violence, torture and murder of the helpless as forms of cool recreation?" This question is worth asking again in wake of the recent decision by the Motion Picture Association of America to factor depiction of smoking into movie ratings. So Hollywood wants to discourage scenes of people lighting up -- but scenes of young women being tortured to death, that's fine, show 'em in the mall! Even given that Hollywood's leading product is hypocrisy, this development borders on surreal. The movie industry trade association is very, very worried about depictions of legal use of a lawful product -- TMQ doesn't smoke, so I've no brief here -- yet has no problem with the glamorization of slow-motion slaughter. The same month the MPAA wrung its hands about lighting a cigarette, the MPAA gave its blessing via an R, rather than an NC-17, to Hostel II, which graphically depicts pretty girls being tortured to death with power tools. Because of the MPAA's ratings favor, this depraved flick was shown in suburban shopping malls. But should someone want to light up, the MPAA has pangs of conscience!

Individual Hollywood studios are exhibiting the same double standards. Universal Pictures (owned by General Electric), 20th Century Fox, Disney (parent company of ESPN) and Time Warner all have said recently that they would forbid or strongly discourage depictions of smoking in their movies. But slashing, torture and splatter -- why not! Time Warner-owned studios produced the recent Texas Chainsaw Massacre remake, which glorifies torturing the helpless to death, plus Freddie vs. Jason, a movie about two psychopaths who hold a competition to see who can slash the most teenagers to death. Universal produced the recent Land of the Dead, a film whose premise might have been absurd but whose content was nonstop gore. Disney-owned studios brought us the Scream series, in which teen characters crack jokes while stabbing and shooting their friends. Fox-owned studios recently produced the extremely graphic remake of The Hills Have Eyes, which depicts multiple beheadings and throat cutting. All these movies got the big-studio green light. But don't you dare film a pack of Marlboros!

The reason to worry about depicting smoking in cinema is that viewers are impressionable and might imitate what's on the screen. If you watch a Star Wars flick, it does not make you decide to jump into hyperspace because you can't. But if you see smoking glamorized in the movies, you can decide to buy a pack of cigarettes -- and if you see the killing of screaming young women glamorized in the movies, you can decide to pick up a gun and start shooting your college classmates. Why does Hollywood make the connection regarding glorifying smoking but not the connection regarding violence? Among specialists, there is no controversy about whether watching violence causes violence. An overwhelming body of psychological data demonstrates that the more cinematic depictions of violence to which a child or teenager is exposed, the more likely the person is to commit violent acts in adulthood: The studies are summarized in this joint statement by the American Academy of Pediatrics and five other medical professional societies.

Today, big movie studios glamorize torture and murder as really super cool fun, then market such films to the young -- the worst possible combination of social irresponsibility. If the MPAA had any interest in making Hollywood accountable, it would rate all films depicting graphic personal violence as NC-17. That would be a fair compromise between safeguarding the moviemaker's prerogative to film and depict any kind of material for adults -- the First Amendment is absolute that adults should be able to watch whatever they please -- while protecting society from harm to the minds of the young. "Clearly, smoking is an increasingly unacceptable behavior in our society," the MPAA intoned in announcing its new ratings policy. But cutting girls' throats, shooting your classmates -- why should Hollywood have any problem with that? It's not unacceptable!

Jumper Trailer

I know they're releasing it on February 15th, which is never a good sign, but it's directed by Doug Liman (Go, Swingers, Bourne Identity) and it's kind of like time travel... my two weak spots.  I'm so, so very intrigued by this trailer for Jumper

jumper

Please... please don't let this suck.

Sweeney Todd Trailer

Tim Burton and Johnny Depp are at it again, but contrary to appearances, it's not Edward Scissorhands: The Musical.  Instead, it's a cinematic take on Sweeney Todd: The Demon Barber of Fleet Street.

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Depp's creation does seem like a mix of Eddie Scissorhands, Beetlejuice, and Captain Jack Sparrow, but it is only a matter of time for the Academy does give Depp a little gold statue.  Just not sure this is the role.  His Best Actor chances will depend on whether the movie is critically and/or universally loved.

Be Kind Rewind Trailer

I don't know what to make of this trailer for Be Kind Rewind.  When all the tapes in their video store are accidentally erased, they go and recreate all the films themselves... thus hilarity and antics ensue. 

I know robot karate!

It looks like it should be completely awful, as if this should be a film starring Jon Heder and David Spade.  Instead, it stars Jack Black and Mos Def, and is directed by Eternal Sunshine of the Spotless Mind's Michel Gondry.  I feel like I have to trust them, don't I?

No Country for Old Men - New Trailer

This is one intense trailer.  I thought the first two were good, but the Coen Brothers have clearly upped it a notch or two.

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