When I was 4, my older brother, Keith, hit me on the head with a hammer. I was too young at the time to have any memory of the incident (getting bonked on the melon couldn’t have helped my recall), but occasionally I’m reminded of this episode when it’s brought up at Thanksgiving. When it is, Keith has a good laugh. Now, before you jump to any conclusions — that my brother was some sort of 7-year-old sadist — I should mention that we’d been watching the Three Stooges. After cracking up when Moe brained Larry on the noggin, Keith, in a textbook case of Monkey See Monkey Do, marched to the closet, returned with a hammer, and…well, such is the cross that younger brothers have borne since the days of Cain and Abel.
Yesterday, it was reported that director Martin Guigui had begun casting Raging Bull II. Veteran character actor William Forsythe (Boardwalk Empire) was mentioned as the frontrunner to star in the film. Now, I suppose the first question for any fan of Martin Scorsese’s 1980 biopic about the rise and fall of 1950s boxer Jack LaMotta (played by Robert De Niro) is…why? Following close behind is: Who is Martin Guigui?
Let’s start with the second question. Guigui is the Argentine auteur whose credits include My Ex-Girlfreind’s Wedding Reception and National Lampoon’s Cattle Call, which was most notable for starring onetime Baywatch babe Nicole Eggert and American Pie‘s Thomas Ian Nicholas. Which, of course, makes him the ideal guy to helm a sequel to one of the great films of the 20th century. READ FULL STORY »
As this weekend’s early box-office receipts start to pour in, it’s quickly becoming clear that The Hunger Games is about to be a huge hit. And I have no reason to doubt that hardcore fans of Suzanne Collins’ bestsellers will get their minds blown by all the teen-on-teen mayhem and melodrama. Still, I can’t help thinking how much more pumped I would be to see the film if it was rated R instead of PG-13. I mean, how do you even make a PG-13 movie that stays true to the novel’s bloody bodycount plot?! I guess I’ll just have to buy a ticket and find out….
In the meantime, allow me to recommend another film with a strikingly similar story that was made with such giddy, gory gusto that there’s no way in hell it would ever earn a PG-13 – the 2000 Japanese cult classic Battle Royale. READ FULL STORY »
I’ll be honest, I can’t really picture millions of macho American football fans putting aside their Miller Lites and nacho supreme platters to pay hushed attention to Madonna belting out “Like a Virgin” on Sunday. I could be wrong, but recent halftime show performances by air guitar-friendly classic rock bands like the Who, U2, and Aerosmith seem a little safer. Even a red-state songstress like Faith Hill seems like a smarter choice since she’s already wooed dudes with her rendition of the Monday Night Football theme. I suppose Madge will bring a whole new audience to an NFL broadcast, but I’m guessing some diehards won’t be happy about it. That said, I hope she knocks it out of the park (and I also hope she plays “Lucky Star”). But if Ms. Ciccone does stink it up, she can take comfort in the fact that she’s just the latest casualty in a long and proud tradition of crappy Super Bowl halftime extravaganzas. Which brings us to our list of the 5 Worst Super Bowl Halftime Shows ever. (If you’re feeling less mean-spirited, by all means check our gallery of the best here) READ FULL STORY »
When Ben Gazzara passed away on Friday, he left behind a six-decade legacy on stage and screen. He was one of those rare, unique actors whose sly grin and sandpaper voice could make any scene he was in instantly memorable…and he will be missed by everyone who loves movies.
Gazzara’s career began in earnest in the mid-’50s, when starred in a pair of Broadway hits. First was Tennessee Williams’ Cat on a Hot Tin Roof, in which he played Brick (the role later went to Paul Newman when director Richard Brooks turned it into a movie). Next was A Hatful of Rain, which earned him a Tony nomination. Just like that, Gazzara’s career was off and running. In 1959, he had his breakthrough role on screen in Otto Preminger’s controversial courtroom drama, Anatomy of a Murder, playing a lieutenant on trial for murdering the man he believes raped his wife. Even with a powerhouse cast that included Lee Remick, George C. Scott, and Jimmy Stewart, the smoldering Gazzara stood out. Not that you could tell that from the film’s hokey, old-timey trailer.
In the mid-’60s, Gazzara landed the lead role in the NBC TV series Run For Your Life, playing a lawyer named Paul Bryan, who is given nine months to live. Ironically, the show lasted for three seasons.
Gazzara’s greatest artistic collaboration was with actor-director John Cassavetes. Decades before independent film as we know was born, Cassavetes and his pair of macho pals, Gazzara and Peter Falk, created a new kind of down-and-dirty cinema. It was emotionally messy, raw, and true. 1970′s Husbands is a perfect example.
Here’s a clip of the three amigos (Cassavetes, Falk, and Gazzara) giving the usually unflappable talk show host Dick Cavett a hard time while promoting the film.
My personal favorite of all of Gazzara’s performances is in Cassavetes 1976 bleak and ballsy drama The Killing of Chinese Bookie. He plays the blowhard owner of a seedy strip club who loses money gambling to the wrong people and is forced to pay off his debt by committing the sin of the film’s title. It’s a harrowing movie — and Gazzara is tragic and electric.
Gazzara wasn’t all Method seriousness, though. He could a mischievous prankster, too. Take his performance as the baddie who sends his goons after Patrick Swayze in 1989′s Road House. There are plenty of great Gazzara scenes in this pop-culture guilty pleasure, but my favorite will always be when he, without a care in the world, swerves behind the wheel of his convertible while singing the doo-wop oldie “Sh-Boom”.
In the later years of his career, Gazzara worked non-stop, often giving small character parts his own unique, indelible stamp. One of the best is his role as porn kingpin Jackie Treehorn in 1998′s The Big Lebowski. After the film became a cult hit, Gazzara explained that even though his role was a nothing part, he agreed to do it because he couldn’t stop laughing when he read the Coen brothers’ script.
If you grew up watching Eddie Murphy chomping on a cigar as Gumby or getting gunned down in a hail of bullets as Buckwheat on Saturday Night Live, or better yet, dropping F-bombs as the cool-cat star of 48 Hrs., Trading Places, and Beverly Hills Cop, it’s hard to wrap your head around the fact that there’s a whole generation out there that has no clue just how funny and dirty he once was.When they think of Eddie Murphy — if they even think of him at all — it’s as the donkey from the kiddie franchise Shrek, or the once-dangerous comedian desperately searching for laughs in fart gags and fat suits in The Klumps.
The fact is, it’s been over a decade since Murphy made a decent movie — 1999′s Bowfinger – and way, way longer since he made a great one. But here’s the good news: it looks like Eddie Murphy is finally back. His latest comedy, Tower Heist, is doing solidly at the box office this weekend. And I’d bet that a good chunk of those ticket buyers are folks like me who had their fingers crossed that this would be The One — the movie where we finally get a glimpse of that old, dirty Eddie Murphy magic again.
Last week, I wrote a review of Terrence Malick’s latest star-studded art film, The Tree of Life. I didn’t like it. Actually, I kind of hated it. And for my sins, some ew.com commenters tarred me “a philistine”, “a dips—,” and “dense”. Which I’m totally fine with, by the way (he said, reaching for the Kleenex). Seriously, I knew when I wrote my review that I was in the minority on the film — its 84 percent Rotten Tomatoes positive rating proved that much. Still, watching Malick’s admitedly easy-on-the-eyes epic felt like the Emperor’s New Clothes to me. In the end, for me at least, its ravishing, museum-quality images added up to a big fat goose egg. Maybe you agree with me. Maybe you think I’m a dips—, too. Either way, let’s air this sucker out in the judgement-free confines of this week’s installment of the Contrarian Corner.
Let me start off by saying that I have nothing personally against Terrence Malick. READ FULL STORY »
Christmas came early last week. That’s when I finally received my advance copy of Citizen Kane on Blu-ray in the mail. For months, I’ve had its September 13th release date circled in red ink on my calendar. What can I say? Some folks have to be the first person they know with Madden 2012. Some camp out in sleeping bags to be the first to see the latest Harry Potter movie. Me, I’m a mouth-breathing drooler when it comes to Orson Welles’ 1941 classic. And if that doesn’t sound nerdy enough, then there’s this: I couldn’t wait to check it out in all of its 1080-p/hi-definition glory.
Hold on a sec while I wipe the spittle from my chin…
Now, I realize that declaring one’s undying love for Citizen Kane is pretty much the most obvious, least daring thing you could do. It’s the cinematic equivalent of rooting for the New York Yankees to win the world series or pulling for the latest Pixar confection to win Best Animated Film at the Oscars. Over the years, I’ve probably seen Kane twenty or thirty times. But before this new Blu-ray showed up, it had been a while. And I wanted to know if it would hold up…or if it even could hold up. After all, no other movie as hyped up and overpraised as this one.
It wasn’t always that way, of course. Welles’ dizzying, ground-breaking, totally brilliant faux biopic about a William Randolph Hearst-esque media magnate (made when Welles was twentyfrigginfive!) was actually snubbed by the Hollywood establishment when it came out. Yes, it was nominated for nine Oscars including Best Picture, but amazingly it won only one, for its screenplay. Since then, of course, it’s been hailed and hyped to the heavens. People just accept its greatness as gospel. So when the American Film Institute polled a jury of 1,500 filmmakers, critics, and historians to rank the 100 Greatest American Movies of All Time a while back, no one batted an eye when Kane landed at the top of the list. They just hit the snooze button and moved on to the rest of the Top 10.
For the record, here it is:
10. The Wizard of Oz (1939)
9. Vertigo (1958)
8. Schindler’s List (1993)
7. Lawrence of Arabia (1962)
6. Gone With the Wind (1939)
5. Singin’ in the Rain (1952)
4. Raging Bull (1980)
3. Casablanca (1942)
2. The Godfather (1972)
And, of course, No. 1…
All in all, it’s a solid, if predictably vanilla, list. These sorts of things usually are. You can quibble with a few of the Top 10 — but nothing you’d go and start a bar fight over. There are plenty of movies I’d watch any day over Singin’ in the Rain or Schindler’s List. Like, for example, Jaws, The Maltese Falcon, Pulp Fiction, A Clockwork Orange, The Treasure of the Sierra Madre, Raiders of the Lost Ark, Psycho, The Empire Strikes Back, Double Indemnity, Chinatown, All About Eve, Annie Hall, His Girl Friday, All the Presidents Men, Dog Day Afternoon, Unforgiven, Blade Runner, hell, even John Carpenter’s The Thing. I could go on.
But, as uncontroversial as it is to say it, Citizen Kane at No. 1 just feels right to me. It felt even more right after I popped in the Blu-ray a couple of days ago and got those familiar goosebumps as Welles’ scratchy, “News on the March” faux-newsreel came on at the beginning. It’s probably the greatest ten minutes anyone’s ever put on celluloid. Mainly because you can feel Welles, the boy wonder director, having a frickin’ blast experimenting and breaking rules. Every time I watch the film, I see new things in it. Is it the greatest American movie of all time? Yeah, I think so.
But enough about me. What do you think is the greatest American movie ever made?
It’s official. EW has confirmed that Twentieth Century Fox is acquiring the rights and developing a big-screen adaptation of Tom Shales and James Andrew Miller’s racy, randy tell-all, ESPN: Those Guys Have All the Fun. The gossipy, doorstop-sized oral history of the 24-hour sports network — in particular, its frat house-style early years — snagged a slew of headlines when it was published back in May thanks to its tawdry tales of on-air rivalries, inter-office prostitution, and of course, Keith Olbermann’s mammoth ego. With David Fincher’s The Social Network providing a blue-print of how to adapt a start-up saga like this one and Bennett Miller’s jock-themed Moneyball hitting theaters in September, we expect big things from this one. And since it’s never too early to start thinking about casting, here are our suggestions for some of the key players.
Keith Olbermann: Long before he ballooned into the self-important voice of the Left, Olbermann was the winningly snarky cohost of SportsCenter. This one is almost too easy for anyone who saw Ben Affleck’s Olbermann impersonation on SNL. READ FULL STORY »
When Steven Spielberg’s Jaws hit theaters back on June 20, 1975, the modern-day summer movie was born. One of the first films ever to be widely released on a large number of screens across the country on a single day, Spielberg’s sea-faring saga redefined what it meant to be a blockbuster. On top of all of that, Jaws also happened to be a rollicking, enjoyable, and insanely scary movie, mixing popcorn thrills and the kind of character development you tend to only see in Oscar-bait prestige films. In a new interview about Jaws with Ain’t It Cool News, Spielberg talked about his nerve-wracking months on the fictional Amity Island (actually Martha’s Vineyard), how he gathered his cast, and Robert Shaw’s infamous U.S.S. Indianapolis scene (oh, and a few words for the Indiana Jones and the Temple of Doom haters out there — hint: blame George Lucas). Here are some of the more excerptable excerpts. READ FULL STORY »