The Screengrab : the visitor

Movieguide, Wall Street Journal Detect Anti-Communist Trend at Box Office; Iron Man Praised for His Faith in the Free Market

Phil Nugent — Wed, 18 Feb 2009 16:30:00 GMT

In an editorial in The Wall Street Journal, a publication that often inspires readers to compare what's in its highly esteemed, award-winning news coverage to what's being professed on its op-ed page and come to the conclusion that somebody's nuts, has published an analysis of the state of the movie business by Ted Baehr, chairman of the Christian Film and Television Commission, and someone named Tom Snyder, who I'm guessing is neither the late, much-missed host of the Tomorrow show not the guy who did Dr. Katz, Professional Therapist, but really, who the hell knows anymore? If there's one thing I've picked up on in the course of doing this job, it's that life's full of surprises, put it that way. Anyway, Baehr is a big wheel with Movieguide, a family-values organization that promotes better living through morally correct movies or something. Part of his op-ed amounts to a press release announcing that Movieguide recently "held its 17th Annual Faith & Values Awards ceremony", where they saluted such entertainments as Fireproof, "which received a $100,000 Epiphany Prize for the Most Inspiring Movie of 2008, sponsored by the John Templeton Foundation." Even more valuable was the information we released in our Report to the Entertainment Industry, a detailed survey of what kinds of movies made money last year, and why. Regular readers of the Screengrab will immediately recall that we did our best to cover the Fireproof experience, because we, too, want to "help families who want to find movies and TV shows that stay within the perimeters of biblical principles", to use Baehr's pithy phrasing, and because opportunities to update readers on the state of Kirk Cameron's career don't come along every day. But the most exciting news to come out of this year's Movieguide report on the state of the art is that Baehr and company have figured out how to keep the entertainment industry solvent in these perilous times. (If you can keep Kirk Cameron solvent, you can do anything.) "With media conglomerates, from Time Warner to Disney to News Corp., reporting big losses," write Baehr and Snyder, "few can afford to ignore proven recipes for box-office success. And when it comes to movies, what succeeds is capitalism, patriotism, faith and values...Once again, family-friendly, uplifting and inspiring movies drew far more viewers in 2008 than films with themes of despair, or leftist political agendas. Sex, drugs and antireligious themes were not automatic sellers, either. Among the 25 top-grossing movies alone, 14 out of 25 had strong or very strong Christian, redemptive and moral content, and nearly all had at least some such content."

These results are based on a close examination of "more than 250 major films from Hollywood studios and independents for their social, political, philosophical, moral and religious content. When all the information -- categorized by dozens of criteria -- is in a database, we calculate which movies took in the most money at the theatrical box office in America and Canada in 2008." We have no doubt that the good people at Movieguide have gone about their work with great devotion and seriousness of intent. But in their efforts to connect with the money changers of Hollywood, they may have come too close to embracing that time-honored but morally dubious practice known as Hollywood accounting. For instance, Movieguide makes a point of claiming that movies with "anti-Communist" messages made a hell of a lot more money this past year than the usual flood of high-profile commercial releases that nakedly proselytize for Communism. If you spend any of your time listening to the right nationally broadcast conniption fits, you will of course agree that, barely ten years after the fall of the Berlin Wall, the threat of a Communist takeover of the West is a major issue, one that demands that filmmakers take sides. And as Movieguide sees it, Americans would much rather see anti-Communist movies. As proof, it offers a list of what it terms anti-Communist message movies--An American Carol, Fly Me to the Moon, City of Ember, and Indiana Jones and the Kingdom of the Crystal Skull--and notes that, as a group, they "averaged $71.8 million at the 2008 box office in America and Canada." Compare that to the group's list of pro-Communist propaganda movies--Che, Gonzo, The Children of Huang Shi, Trumbo and Vicky Cristina Barcelona--which "averaged a measly $7.9 million in 2008." However, as Jim Emerson points out at his great film blog Scanners, the "average" $71.8 million figure for the anti-Commie films seems to have been arrived at by spreading the wealth around and giving An American Carol and City of Ember, which cost, respectively, $20 million and $55 million, and which each took in about $7 million, some of the credit for Indiana Jones's $317 million gross. (I confess to never having heard of Fly Me to the Moon before. Turns out it's a Belgian-made 3-D animated feature that cost $25 million and had a domestic gross of $12 million, though it managed to make enough worldwide to cover its costs.) By contrast, the standout film on the "pro-Communist" side of the roster, Vicky Christina Barcelona, was made for somewhere between $15 and $20 million and has grossed more than $85 million worldwide. Many people, some of whom invested in An American Carol, would say that this counts as profitable, but apparently Movieguide feels there is a special kind of math that is "within the perimeters of biblical principles" and another kind that is not.

Then there is the problem of how Movieguide defines its terms. A certain round peg-square hole quality can be felt. For instance, why is City of Ember, a children's fantasy film in which the corrupt mayor (Bill Murray) of a dying city is seen stockpiling canned goods for his own selfish use while the people he is meant to be governing do without, specifically "anti-Communist"? Movieguide simply says that it must be because it's a movie in which "a tyrant steals from the people", which could just as easily (and just as weirdly) justify calling it a veiled attack on Boss Tweed. Similarly, in what way is Vicki Christina Barcelona pro-Communist? It is true that it features a character who identifies as a political leftist, and it is true that although this character's life is a self-destructive mess, at no point is there a scene where he is struck by lightning. Similarly, the basically apolitical (and largely unseen) The Children of Huang Shi, which is set in China during the Japanese invasion, features a swaggering, charismatic Communist Chinese guerrilla fighter played by Chow Yun-Fat. Put all this together, and you might be forced to conclude that Movieguide thinks that it's a dangerous political act to ever have a Communist character played by somebody hot. But then you remember that they approve of Cate Blanchett's Commie dominatrix with Louise Brooks bangs and that theory gets shot to hell.

The politics of Movieguide and the Journal's op-ed page are no secret, but if you'd never heard of either one, you wouldn't have any trouble guessing what they are from their attitudes towards certain movies. These are people who, faced with an admiring portrait of a genuine hero like Milk, only see the "licentious content"; who think that the documentary Gonzo must be pro-Communist because its hero, Hunter S. Thompson, didn't approve of the Vietnam War or Richard Nixon; who see the humanistic, one-world attitudes of The Visitor as an expression of "anti-Americanism." (These are also people with so little sense of history that their list of liberal-minded dirty movies includes an adaptation of Brideshead Revisited; that noise you are hearing is the sound of Evelyn Waugh trying to claw his way out of his coffin so that he can get his hands around their throats.) Risible as all this is, it's also kind of annoying, because this is a time when a changing economic reality might make it possible, and desirable, to have a real discussion about the morality of the movie culture, and how that culture might enhance its own profitability by addressing people's actual concerns on a real-world level instead of wasting more and more money on thinner and tawdrier fantasies. So it's frustrating to see more of these silly circle jerks whose sole purpose is to give the jerkers a chance to claim solidarity with what they think is the core of the mainstream culture and cite its "success", whether that success is real or imaginary, as evidence that tomorrow belongs to them. Among the other movies that Movieguide sees as on their side is the animated feature Bolt, which is about a dog that has spent its life performing in a TV show and bounds out into the real world believing that it actually has super powers, and which is said to embody "such moral values as loyalty, sacrifice and doing the right thing," values that you might think transcend politics but that Movieguide identifies as constituting specifically "conservative content". I guess if you think that An American Carol provides a blueprint for financial success, it's only natural that your idea of a moral example would be a delusional dog on a power trip.

JENKINS!!!!! (a.k.a., Screengrab's Oscar Nod Prediction Results)

Andrew Osborne — Fri, 23 Jan 2009 15:00:00 GMT

Just wanted to give a big Screengrab high-five to the always hardworking, frequently overlooked (until now) character actor Richard Jenkins for his well-deserved Best Actor nomination for The Visitor. I’ve been a Jenkins fan ever since his great comic role as the long-suffering federal agent in Flirting With Disaster, and I’m happy to see him get bumped to the A list (or at least the B+ list) at last.

It was also nice to see Michael Shannon vault onto the red carpet outta nowhere. The wife and I just saw Revolutionary Road the other night, and shortly thereafter we turned to each other and said, “Why no Best Supporting Actor buzz for the crazy guy?” So we’re glad the Academy felt the same way. (And Penelope Cruz was always a lock for a Best Supporting Actress nod, but I’m still happy it’s official.)

On the other hand, while I wasn’t really expecting Oscar love for Debra Winger or Sally Hawkins, it’s still too bad they got snubbed (although Hawkins at least got a nice shiny Golden Globe for her trouble).

In other news, the ongoing Benjamin Button love fest (really? Brad Pitt gave a better performance than Clint in Gran Torino?) continues to baffle me as much as the curious case of Doubt not being a Best Picture or Best Director contender despite nominations for the screenplay and just about every actor with a speaking part in the movie. (Man, the Academy must really hate Dutch angles!)

But the big question you’re asking yourself is: which Screengrab staffer (or reader) scored highest in our Oscar Nomination Prediction Pool?

Well, first I should mention the staff as a whole scored a (fairly) respectable B- with our collective overall picks, correctly guessing 24.5 out of 30 nominations (for an 81.67% accuracy rating, if I did the math right).

Although we flubbed one Best Picture prediction and one Best Director slot, I can’t say I’m terribly upset about the Academy snubbing Christopher Nolan or The Dark Knight. (Scott Von Doviak and Sarah Clyne Sundberg, meanwhile, were the only ones on the staff who picked The Reader for the fifth Best Picture spot, having fortuitously remembered that Academy bylaws require at least one Holocaust-themed nomination per year).

Speaking of which, the Screengrab accurately anticipated a Best Actress nomination for Kate Winslet...but only Sarah had the ESP-Fu to anticipate the nod would be for The Reader, not Revolutionary Road. EW.com explained it thusly: “The Academy overruled a campaign and placed Kate Winslet in the lead-acting category for The Reader instead of Revolutionary Road. She may not have gotten two nominations, but this increases her chance at an eventual win.” (Unfortunately, I’m not entirely sure what they’re talking about.)

We also mistakenly forecast Best Actress noms for Cate Blanchett and the delightful Ms. Hawkins (although a few of us managed to correctly forecast nods for Angelina Jolie and Melissa Leo in our individual picks).

Nobody here (except, ahem, me) saw the Jenkins nomination coming, but I also joined the general mistaken consensus that Clint would snake a Best Actor nod away from Brad Pitt.

Finally, we only scored three and three and a half out of five in both tricky Best Supporting categories, favoring Ralph Fiennes and James Franco over Josh Brolin and Michael Shannon and (in a tie) Debra Winger and Kate Winslet (for The Reader...we’re still confused about that whole thing) over Taraji P. Henson.

As for which Screengrab writer (or reader playing along at home) had the most correct individual nomination predictions...well (ahem), I’ll just let the scores speak for themselves...

15 – Leonard Pierce
16 – Sarah Clyne Sundberg
21 – Iris Steensma
22 – Paul Clark
22 – Scott Von Doviak
24 – Andrew Osborne

Woo-hoo! Yes! In your face...uh...esteemed colleagues!

Okay, that's it for now! See you soon for the next round!

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Screengrab Predicts the Oscars: Nominations (Part Four)

Andrew Osborne — Thu, 08 Jan 2009 22:30:00 GMT

BEST ACTOR

Scott Von Doviak Predicts:

NOMINEES
Clint Eastwood (Gran Torino)
Frank Langella (Frost/Nixon)
Sean Penn (Milk)
Brad Pitt (The Curious Case of Benjamin Button)
Mickey Rourke (The Wrestler)

If Sean Penn can get nominated for I Am Sam, there's no reason to think his beautiful work in Milk will be overlooked. Everyone loves a comeback, so even if they're a little worried he'll take a drunken stumble into Jack Nicholson's lap, Mickey Rourke will be nominated for The Wrestler. Rounding out the leading men will be Frank Langella (Frost/Nixon), Brad Pitt (Benjamin Button), and this year's sentimental "Hey, you're almost friggin' 80!" nominee, Clint Eastwood (Gran Torino).

WINNER
Rourke. Watch out, ladies!

Sarah Clyne Sundberg Predicts:

NOMINEES
Christian Bale (The Dark Knight)
Philip Seymour Hoffman (Synecdoche, NY)
Sean Penn (Milk)
Brad Pitt (The Curious Case of Benjamin Button)
Mickey Rourke (The Wrestler)

Since Philip Seymour Hoffman appeared in two movies likely to figure in the Academy Awards this year, it follows that he must be nominated for at least one. Brad Pitt will be nominated for long and faithful service, Christian Bale for being in a blockbuster that didn't suck, and Mickey Rourke for appearing again out of nowhere. Sean Penn will win, because he is playing a gay man. But also because this is the best role he has done in a good while, if not ever. Madonna will be jealous.

WINNER
Sean Penn

Paul Clark Predicts:

NOMINEES
Clint Eastwood (Gran Torino)
Frank Langella (Frost/Nixon)
Sean Penn (Milk)
Brad Pitt (The Curious Case of Benjamin Button)
Mickey Rourke (The Wrestler)

Where’s Richard Jenkins, you ask? The Screengrab favorite won numerous early accolades for his work in The Visitor, but the risky plan to open the film early to build steam for Jenkins has led to the unassuming actor getting lost in the end-of-the-year shuffle, as most of the honors have been split between Penn and Rourke. With early predictions such as Leonardo DiCaprio (Revolutionary Road) and Benicio Del Toro (Che) having largely stalled out, Jenkins is the only potential spoiler here, but between Rourke’s comeback-kid status, the high-profile biopic turns of Penn and Langella, and two big stars in Eastwood and Pitt, I’m predicting that Jenkins pulls a Paul Giamatti and gets shut out of a nomination despite the early hosannas. As for the eventual winner, it seems too soon for Penn to win a second Oscar, and unless Rourke torpedoes his chances between now and February 22, I suspect that capping off his comeback with a statuette will prove too perfect an ending for voters to resist.

WINNER
Mickey Rourke

Andrew Osborne Predicts:

NOMINEES
Clint Eastwood (Gran Torino)
Richard Jenkins (The Visitor)
Frank Langella (Frost/Nixon)
Sean Penn (Milk)
Mickey Rourke (The Wrestler)

After all the endless hype about Mickey Rourke’s comeback in The Wrestler, it’d be heee-larious if he didn’t actually get nominated. And I’m guessing there’s more than a few Academy voters not exactly wishing Mickey well...but Hollywood and professional sports are all about storylines, so a Rourke nod seems inevitable. Unlike Rourke, Frank Langella and Sean Penn were playing other people in their movies rather than semi-autobiographical stunt-casting versions of themselves...and doing it well: Penn, in particular, seemed like an entirely different human being in Milk (which, y’know, is probably why the award is “Best Actor” instead of “Best Comeback”). Then again, there’s something to be said for a beloved screen icon just playing a stylized, hyper-real version of themselves, especially when they’re still kicking more ass in their seventies than alleged action star Shia LaBeouf will kick on the ass-kickingest day of his life, and especially when said role occurs in what may be said icon’s last screen role ever...in other words, I’ll be surprised if Clint Eastwood doesn’t grab a nomination for Gran Torino. And speaking of beloved movie stars, I’m supposed to pick Brad Pitt for the fifth spot, but what if the Academy decides his performance in Benjamin Button was more to do with CGI than acting chops? In that case, they might choose a dark horse, under-the-radar industry vet who’s paid his dues and (unlike Pitt) may never get another shot at the brass ring: the lovely and talented “that guy” Richard Jenkins for his role in The Visitor. (But Penn’s gonna actually win, partly thanks to Proposition 8...and I mentioned that whole crazy “acting” thing, yes?)

WINNER
Sean Penn

Leonard Pierce Predicts:

NOMINATIONS
Leonardo DiCaprio (Revolutionary Road)
Frank Langella (Frost/Nixon)
Sean Penn (Milk)
Brad Pitt (The Curious Case of Benjamin Button)
Mickey Rourke (The Wrestler)

Goodness knows why anyone continues to insist that Leonardo Di Caprio is a good actor, but I’d bet my next paycheck on him getting the nod. Frank Langella, likewise, plays Nixon like a broad majestic Shannon – that ain’t acting, that’s overacting – but the Academy loves an old pro. Pitt’s Button nom makes up for the Burn After Reading one he won’t get. In the end, though, it’ll be a battle between comeback kid Mickey Rourke in The Wrestler and Sean Penn’s well-deserved nomination for Milk; I’ll predict that Rourke gets it, though, since Penn has had (and will have) many more moments in the sun, while this is likely Mickey’s last dance. BIGGEST SCREWJOB: Benicio Del Toro’s incredibly tight performance in Che won’t get recognized because the public won’t sit through a 17-hour movie, and right-wing critics will yap endlessly that the movie glorifies a killer, which has never, ever happened before in a Hollywood movie.

WINNER
Mickey Rourke

SCREENGRAB CONSENSUS: NOMINEES
CLINT EASTWOOD, FRANK LANGELLA, SEAN PENN, BRAD PITT, MICKEY ROURKE

SCREENGRAB CONSENSUS: WINNER
MICKEY ROURKE

Click Here For Part One, Two, Three, Five & Six

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Sarah Clyne Sundberg, Scott Von Doviak

2008 in Review: Paul Clark's Favorite Movie Moments

Paul Clark — Fri, 26 Dec 2008 20:00:00 GMT

Starting tomorrow, the writers of Screengrab will be unveiling their lists of the top 10 films of 2008. But before that begins, I’d like to post a different sort of list of highlights from the past year. For those of you who’ve only started reading recently, I used to write a bi-weekly column called “The Movie Moment,” in which I’d explore in depth some of my favorite scenes from movies both old and new. This past spring, I had to put the column on indefinite hiatus for various reasons, but I wanted to bring it back for this week only so I could celebrate some of my favorite Movie Moments of 2008. However, I had such a devil of time trying to narrow down my list that I’ve decided to simply list all of the moments that made me laugh out loud, cry like a baby, bite my nails uncontrollably, or which otherwise rocked my world this past year. This list is by no means meant to be taken as comprehensive, but merely were the moments which readily sprang to mind while I was writing the piece. So without further ado, I give you…

2008: The Year in Movie Moments:

(in no particular order)

The little boy’s confession notes- In Bruges

“No-no-no. I kill the bus driver.” - The Dark Knight

The security guard makes his rounds - Man on Wire

Sidney’s musical vows - Rachel Getting Married

The kiss that launched a thousand lens flares - Silent Light (only one of several transcendent moments in the film- the swimming-hole scene or the epic rainstorm might just as easily have qualified)

Mike’s late-night visit (or really, anytime Merle Haggard’s “Mama Tried” is played) - The Strangers

Peekaboo nudity - The Romance of Astrea and Celadon

Harry unveils the machine - Burn After Reading (honestly, who could possibly enjoy THAT?)

Madame Gaudens’ confession - A Girl Cut in Two

Incident at the race track - My Winnipeg

Most hilarious random line of the year: “When it comes to women, you’re Michael Jordan. I’m… Bill Laimbeer.” - Baghead

The new army suits up for battle - Role Models

Alex takes a shower - Paranoid Park

Brandi forgets her cell phone - Stuck

Black Kold Medina puts on a show - Trouble the Water

Runaway penguin - Encounters at the End of the World

Jung-rae Kim diagrams his neuroses - Woman on the Beach

Alex’s sex surprise, both inevitable and strangely erotic - XXY

The director’s big exit - Tropic Thunder

Most unlikely tearjerking moment of the year: Fred Knittle sings “Fix You”, Young@Heart

Three-way fist fight: Seth Rogen vs. James Franco vs. Danny McBride - Pineapple Express

The Richard McGuire segment - Fear(s) of the Dark

Ninjas! - In the Name of the King: A Dungeon Siege Tale (yes, really)

And finally, my five favorite openings and finales of the year:

Perfect openings: “Put on Your Sunday Clothes”, WALL*E; Sunrise, Silent Light; The piano, The Silence Before Bach; The Jean-Claude Van Damme Stunt Spectacular, JCVD; The Legend of Po, Kung Fu Panda

Great final scenes (no spoilers): Synecdoche, New York, The Duchess of Langeais, Shine a Light, The Visitor, Burn After Reading

I would invite all of you to share some of your favorites in the comments section. After all, I’m surely missing at least a couple of really good ones.

Thursday Poll for November 13, 2007

Paul Clark — Fri, 14 Nov 2008 00:00:00 GMT

With a little more than two months left until Oscar nominations are announced, who stands the best chance of being nominated from the movies that have already gotten released? If the predictions of Screengrab’s readership hold any water (and we like to think they do), then Anne Hathaway should be very happy come nomination day. Once best known as the star of the Princess Diaries franchise (and later as the girl who gets topless in the otherwise regrettable Havoc), Hathaway’s revelatory lead performance in Jonathan Demme’s near-masterpiece Rachel Getting Married has made a real impression on our readers, nearly half of whom voted for it in last week’s poll. In second place was eternal paparazzi-magnet Angelina Jolie in Clint Eastwood’s Changeling, followed by The Jenkins for his performance in this spring’s word-of-mouth hit The Visitor. Perhaps the biggest surprise was the scant 7% of the vote received by Penelope Cruz in Vicky Cristina Barcelona, if only because a decade ago she would’ve been practically a shoo-in to get nominated, given Woody Allen’s awards prowess during the nineties.

This week, we presented our list of our favorite 007 movies. Now we leave it to you- which of our top five choices leaves you the most shaken… or stirred?

Which of these 007 movies is your favorite? | BuzzDash polls

As always, the comments section is open. See you next week!

DVD Digest for October 7, 2008

Paul Clark — Tue, 07 Oct 2008 14:00:00 GMT

It’s a massive week for classic films, and a surprisingly good one for new releases too, once you get past the big Hollywood titles…

DVD of the Week: There was no small amount of competition for this spot, not merely because of the jaw-dropping number of classic titles being release but also due to one of TV’s best sitcoms seeing its most recent season bow on DVD store shelves. But with all the great stuff that’s hitting stores this week, to my eyes there was only one logical choice- Universal’s Touch of Evil 50th Anniversary Edition. It would be one thing if this DVD was simply a cash-in, a new pressing of the previously released 1998 cut of the film. But joining the “restored” version of the film are both the original theatrical cut and an additional “preview version”, both of which are being released on DVD for the first time. In addition, there are plenty of extras both old and new, including commentary tracks to correspond with each of the three available versions of the movie. What more could a Touch of Evil fan ask for? How about a reproduction of the legendary Orson Welles memo that led to the 1998 restoration? Yep, that’s in here too. I don’t normally double-dip my DVDs, but I’m definitely going to make the upgrade this time.

But wait, there’s more! Disney is releasing a 2-disc “Platinum Edition” of their 1959 classic Sleeping Beauty, packed with plenty of extras for both family audiences and animation buffs. Criterion is releasing two more films from the French master of crime dramas, Jean-Pierre Melville- Le Doulos (starring Jean-Paul Belmondo) and Le Deuxieme Souffle (with Lino Ventura). There are new 2-disc special editions of three of Hitchcock’s most iconic classics- Psycho, Rear Window, and Vertigo (all Universal). And Ray Harryhausen is representin’ here too, with a new DVD of The 7th Voyage of Sinbad 50th Anniversary Edition (Sony, also Blu-Ray), plus the Ray Harryhausen Giftset (Sony, also Blu-Ray), which includes previously-released editions of 20 Million Miles to Earth, It Came From Beneath the Sea, and Earth vs. the Flying Saucers, plus collectible Ymir figurine.

Also, like musicals? Then pick up Fox’s The Alice Faye Collection Volume 2, which contains Hollywood Cavalcade, The Great American Broadcast, Four Jills in a Jeep, Rose of Washington Square, and Hello, Frisco, Hello (also available separately). And with the winter months coming sooner than you’d think, you can start traveling in the comfort of your own home with The Michael Palin Collection (Warner), which collects the amiable Python’s adventures Around the World in 80 Days, Pole to Pole, Full Circle, Hemingway Adventure, Great Railways Journeys, Sahara and Himalaya into one handy box set. Finally, Warner is releasing two very different classic titles, The Picture of Dorian Gray and the Watership Down Deluxe Edition. So yeah, something for everyone.

But wait, there’s more! Two of my favorite films from the first half of 2008 are hitting the streets today- Gus Van Sant’s Paranoid Park (Genius Productions) and Stuart Gordon’s Stuck (Image Entertainment). And two other acclaimed indies are getting released as well, The Visitor (Anchor Bay, also Blu-Ray) starring Screengrab fave Richard Jenkins, and Boy A (Genius Productions). And, oh yeah… The Happening (Fox, also Blu-Ray) and You Don’t Mess With the Zohan (Sony, also Blu-Ray). Although I’m not sure I want to know anybody who’d buy these instead of any of the aforementioned classics.

This week’s TV on DVD release is 30 Rock Season 2 (Universal), which finds Liz, Jack, Tracy, Kenneth the Page, and the rest of the TGS gang taking a trip to MILF Island, among other misadventures. Also this week: Brotherhood Season 2 (Paramount), How I Met Your Mother Season 3 (Fox), and The Simpsons Season 11 (Fox).

Finally, this week’s Halloween-heavy Blu-Ray only releases include: The Amityville Horror (MGM), Beetlejuice 20th Anniversary Deluxe Edition (Warner), Body Heat (Warner), Young Frankenstein (Fox), Carrie (MGM), and Otis (Warner). No word on whether Carré Otis is somehow involved.

Morning Deal Report: Dueling Sherlocks

Scott Von Doviak — Wed, 02 Jul 2008 15:00:00 GMT

As if Guy Ritchie didn’t have enough problems, what with the gossip sheets running wild with rumors that A-Rod is shtupping his wife. Now it turns out that his Sherlock Holmes feature will face competition from Borat himself. Per Variety, Columbia Pictures has announced “an untitled comedy that will star Sacha Baron Cohen as master detective Sherlock Holmes and Will Ferrell as Watson, his crime-solving partner.” According to Columbia president Matt Tolmach, this re-teaming of the Talladega Nights stars is a sure-fire knee-slapper. "Just the idea of Sacha and Will as Sherlock Holmes and Watson makes us laugh…having them take on these two iconic characters is frankly hilarious." Thank you for speaking frankly, Mr. Tolmach. Of course, this is not the first time rival productions involving the same iconic character have gone head-to-head, as we recall from the great Robin Hood war of the '90s. But then, that was a war nobody won.

The cast of Roland Emmerich’s latest rendition of the end of the world is coming together. Triple threat Thomas McCarthy, who most recently wrote and directed The Visitor, will join John Cusack, Amanda Peet and Danny Glover in Emmerich’s 2012. “As an actor, I've never worked on anything with this scale before, and I always go see these movies,” McCarthy tells the Hollywood Reporter. “This does have a big budget and I do make more money, which is nice, but I know if you take a job like this just for the money, you'll be miserable.” Yeah, yeah, yeah. Tell it to Nicolas Cage.

Meanwhile, the French hit Bienvenue chez les Ch'tis (Welcome to the Sticks) is being remade not only in America (Will Smith will star for Warner Bros.) but in Italy. Variety describes it as a “heart-warmer about a postal worker forced to relocate to a small town in the north where he can't understand the patois, the food or the many quirks.” We’ll wait for the Portuguese version.

Related:

No Shit, Sherlock: Guy Ritchie Reimagines Holmes
1949 vs. 2012: John Woo/Roland Emmerich Deathmatch!

Indie Box Office Roundup: Weekend of May 16-18, 2008

Paul Clark — Wed, 21 May 2008 14:30:00 GMT

Nearly a year ago, Screengrab’s Bryan Whitefield sang the praises of a little Norwegian stunner called Reprise (Miramax), calling it “modern filmmaking at its most inventive.” As it turns out, somebody was actually listening. Nearly $50,000 worth of somebodies, to be precise. Reprise, directed by Joachim Trier, effortlessly placed first in this weekend’s Indie Box Office, grossing a per-screen average of $16,353 in three venues, and nearly doubling the next-best contender. Expect good word of mouth to help the film’s box office as it expands its release to Chicago, DC, Boston and Minneapolis in the coming weeks.

Following at the heels of Reprise was a trio of documentaries jockeying for the second-place spot. Of the three, the highest-grossing was Christopher Zalla’s immigration-themed Sangre de Mi Sangre (IFC Films). It was followed closely by the Doug Pray’s eccentric surfer profile Surfwise (Magnolia), and America the Beautiful (Arenas Entertainment), a muckraker about the effects that the modeling and fashion industries have on the health of young women. Rounding out the top five was Tarsem’s dark fantasy The Fall (Roadside Attractions).

Also of note this week was the unstoppable Richard Jenkins juggernaut, which carried The Visitor into the top 10 overall for the first time since its release and took its overall grosses upwards of $3 million. Not bad for a sleeper about a bald (although admittedly awesome) character actor learning to play the drum. Could the deafening word of mouth for the film turn Jenkins into an awards-season contender? Stay tuned.

Top 10: Weekend of May 16-18, 2008:
1. Reprise [Miramax] ($16,353 per screen)
2. Sangre de Mi Sangre [IFC Films] ($8,385)
3. Surfwise [Magnolia Pictures] ($6,342)
4. America The Beautiful [Arenas Entertainment] ($6,169)
5. The Fall [Roadside Attractions] ($5,921)
6. Roman De Gare [IDP/Samuel Goldwyn Films] ($4,492)
7. Bloodline [Cinema Libre] ($4,292)
8. My Father My Lord [Kino International] ($4,016)
9. Yella [Cinema Guild] ($3,884)
10. Up the Yangtze [Zeitgeist] ($3,659)

Source: IndieWire.

Indie Box-Office Roundup: Weekend of May 2-4, 2008

Paul Clark — Wed, 07 May 2008 14:00:00 GMT

Sometimes, the headlines just write themselves. A stronger-willed writer than I might be able to resist, but alas, I can’t. So I might as well give in. Here goes: “It’s Lonely at the top.” That’s right, this week’s top indie per-screen average is Harmony Korine’s latest effort, Mister Lonely (IFC Films), which brought in a mighty $16,769 in its single-screen showing at the IFC Center in New York City. Some of the credit should go to the infamous auteur/enfant terrible, but don’t discount the eclectic cast (Diego Luna, Samantha Morton, Werner Herzog), or the unique hook (a commune full of celebrity impersonators). All of these factors practically confer cult status on the film right off the bat, which never hurts a movie’s chances at the Indie Box Office. What remains to be seen is what kind of legs the movie will have outside of NYC.

But while many prognosticators pegged this as a slow weekend at the indie box office due to the release of Iron Man, several other films played to strong business, with a total of four taking upwards of $10,000 per screen. Debuts of note were the festival hit Son of Rambow (Paramount Vantage) and David Mamet’s mixed martial arts film (still feels weird to type that) Redbelt (Sony Pictures Classics), which ran almost neck and neck for third and fourth place, respectively, behind the weekend’s top holdover, Claude Lelouch's Roman de Gare (IDP/Samuel Goldwyn). Rounding out the top 5 was another debut, the French sexploitation-inflected drama Viva (Vagrant Films).

Also worth mentioning is the continued presence on the chart of Tom McCarthy’s The Visitor (Overture Films), which expanded its release again, this time to 130 screens, while residing comfortably here at #8. The film has brought in more than $1.5 million to date, and with its strong word of mouth it doesn’t show signs of letting up.

Finally, I feel compelled to mention the box-office take for the Kentucky Derby documentary First Saturday in May (Truly Indie), which expanded its release to seven screens just in time for this weekend’s Run for the Roses. However, the timeliness of the expansion failed to goose business, as it brought in a meager $572 per screen average.

Top 10: Weekend of May 2-4, 2008:
1. Mister Lonely [IFC Films] ($16,769 per screen)
2. Roman De Gare [IDP/Samuel Goldwyn Films] ($11,267)
3. Son Of Rambow [Paramount Vantage] ($10,758)
4. Redbelt [Sony Pictures Classics] ($10,560)
5. Viva [Vagrant Films] ($8,688)
6. Up the Yangtze [Zeitgeist] ($6,838)
7. The Dhamma Brothers [Balcony Releasing] ($4,718)
8. The Visitor [Overture Films] ($4,666)
9. The Singing Revolution [Abramorama Entertainment] ($4,411)
10. Fugitive Pieces [IDP/Samuel Goldwyn Films] ($3,407)

Source: IndieWire.

Indie Box-Office Roundup: Weekend of April 25-27, 2008

Paul Clark — Wed, 30 Apr 2008 14:00:00 GMT

Even at the indie box office, it seems that Iraq War movies can't catch a break. The weekend's highest-profile documentary, Errol Morris' Standard Operating Procedure (Sony Pictures Classics), couldn't keep up with the relatively unheralded Up the Yangtze (Zeitgeist). Up the Yangtze, the debut feature from Yung Chang and the latest in a recent wave of films dealing with the impact of the massive China's Three Gorges Dam project, brought in $15,851 on its one screen, the highest per-screen take by a documentary so far this year.

Finishing in second place was the child-prostitution drama Holly (Priority Films), which took advantage of strong advance group sales to take in $15,687 on its single screen of release, less than $200 behind this week's winner. Coming in a strong third was the debut of Claude Lelouch's latest, Roman de Gare (IDP/Samuel Goldwyn), starring Fanny Ardant and Dominique Pinon.

Rounding out the top five were Then She Found Me (ThinkFilm), the directorial debut of Oscar-winner Helen Hunt, and Standard Operating Procedure. Which just goes to show you that even at the indie box-office, an acting Oscar trumps a best documentary Oscar every time.

Finally, we feel compelled to mention that two-week champion The Visitor fell to sixth place after expanding its release to 76 screens. Don't worry, Richard Jenkins- we still love you, and we'll let you keep your crown.

Top 10: Weekend of April 25-27:
1. Up the Yangtze [Zeitgeist] ($15,851 per screen)
2. Holly [Priority Films] ($15,687)
3. Roman De Gare [IDP/Samuel Goldwyn Films] ($12,742)
4. Then She Found Me [ThinkFilm] ($8,066)
5. Standard Operating Procedure [Sony Pictures Classics] ($7,054)
6. The Visitor [Overture Films] ($6,285)
7. Tuya's Marriage [Music Box Pictures] ($4,675)
8. Glass: A Portrait Of Philip In 12 Parts [Koch Lorber Films] ($4,356)
9. The Singing Revolution [Abramorama Entertainment] ($4,281)
10. Without The King [First Run] ($4,237)

Source: IndieWire.

Indie Box-Office Roundup: Weekend of April 18-20, 2008

Paul Clark — Wed, 23 Apr 2008 14:00:00 GMT

Richard Jenkins- still the indie box office king! For the second consecutive week, The Visitor (Overture Films), directed by Tom McCarthy and starring Jenkins, reigns supreme for per-screen grosses, bringing in an average of $9,249 on eighteen screens. Along with the ever-dependable Mr. Jenkins, credit overwhelmingly positive press and some really good word of mouth among arthouse-goers in the major markets, as well as the relatively meager selection of new indie releases this past weekend. Overture currently plans to expand the film over the next few weeks in an attempt to continue its successful run before the summer blockbusters sweep aside all competition. Will it succeed? Watch this space.

The weekend's other big indie success story was the strong showing of second-ranking film The Singing Revolution (Abramorama Entertainment), which returned to the top 10 for only the second time in the twenty weeks since its initial release. The documentary deals with popular song festivals in Estonia during Soviet rule, and the distributor has wisely tailored its release to Estonian populations in the cities where it's playing. This would indicate that interest for the film might be limited outside these areas, but as any independent filmmaker would tell you, any audience is better than no audience.

Coming in at #3 and #4 are the weekend's top debuts, both documentaries: Scott Hicks' Glass: A Portrait of Philip in 12 Parts (Koch Lorber), and Constantine's Sword (First Run). Filling out the top five was the crowd-pleaser Young@Heart (Fox Searchlight), followed closely by the winner from two weeks ago, Hou Hsiao-hsien's Flight of the Red Balloon.

Finally, falling just outside the top 10 was the top-averaging indie that played on more than 1,000 screens, the "intelligent design" documentary Expelled: No Intelligence Allowed (Rocky Mountain Pictures). The documentary, featuring Nixon-speechwriter-turned-cranky-TV-personality Ben Stein, brought in a $2,824 average on 1,052 screens, and frankly beat the tar out of the weekend's other high-profile piece of info-tainment, Morgan Spurlock's Where in the World Is Osama bin Laden? (Weinstein Co.). Audiences must have seen the documentary hoping Stein might inquire about the whereabouts of a certain Mr. Bueller, or perhaps give them some of his money. Because honestly, I can't believe that intelligent design is really still an issue.

Top 10: Weekend of April 18-20:
1. The Visitor [Overture Films] ($9,249 per screen)
2. The Singing Revolution [Abramorama Entertainment] ($7,079)
3. Glass: A Portrait Of Philip In 12 Parts [Koch Lorber Films] ($5,546)
4. Constantine's Sword [First Run] ($5,066)
5. Young@Heart [Fox Searchlight] ($4,606)
6. The Flight of the Red Balloon [IFC Films] ($3,818)
7. Water Lilies [Koch Lorber Films] ($3,350)
8. La Traviata [Emerging Pictures] ($3,238)
9. Anamorph [IFC Films] ($3,120)
10. Bab'Aziz [Typecast Releasing] ($2,842)

Source: IndieWire.

Indie Box-Office Roundup: Weekend of April 11-13, 2008

Paul Clark — Wed, 16 Apr 2008 14:00:00 GMT

Move over, Juliette Binoche, Jude Law and Natalie Portman. There's a new arthouse star in town- Richard Jenkins. The character actor extraordinaire, known to many as the deceased father on Six Feet Under, parlayed a rare leading role in Tom McCarthy's new film The Visitor (Overture Films) into the weekend's top per-screen box office take. The film took in a mighty $22,622 per screen average on four screens this past weekend, which promises a healthy overall gross once the film expands wider in two weeks.

Finishing in second place was Fox Searchlight's crowd-pleasing documentary Young@Heart, raking in a sturdy $12,734 average on four screens. The film, about a chorus of retirees who perform rock'n'roll songs, has received mostly ecstatic reviews thusfar, which leads me to think the awful trailer may simply have been a botch by Fox's marketing department.

Making strong showings in the their second weeks of release were last week's top two, Hou Hsiao-hsien's Flight of the Red Balloon (IFC Films) and Wong Kar-wai's English-language debut My Blueberry Nights (The Weinstein Company). Rounding on the top five was the Vietnam drama Holly (Slowhand Cinema).

Also of note were: First Independent's release Dark Matter, whose sturdy grosses can be mostly attributed to the presence of Meryl Streep in a supporting role; Body of War (The Film Sales Company), an Iraq documentary co-directed by Phil Donahue (last seen puking in the trombone); and the weekend's top-performing wide-ish release, Miramax's Smart People. Less successful was Sony Pictures Classics' new English dub of Persepolis, taking in a mere $561 per screen- little more than the already-on-DVD There Will Be Blood.

Top 10: Weekend of April 11-13:
1. The Visitor [Overture Films] ($22,622 per screen)
2. Young@Heart [Fox Searchlight] ($12,734)
3. The Flight Of The Red Balloon [IFC Films] ($11,959)
4. My Blueberry Nights [The Weinstein Company] ($7,292)
5. Holly [Slowhand Cinema Releasing] ($5,994)
6. Dark Matter [First Independent Pictures] ($4,351)
7. Body of War [The Film Sales Company] ($3,850)
8. The Dhamma Brothers [Balcony Releasing] ($3,710)
9. Smart People [Miramax] ($3,700)
10. Priceless [IDP/Samuel Goldwyn Films] ($3,604)

Source: IndieWire.

Richard Jenkins Is Ready for His Close-Up, Whether He Likes It or Not

Phil Nugent — Mon, 07 Apr 2008 17:00:00 GMT

If you've been to the movies a few times in the last twenty years, you've probably seen Richard Jenkins. Trust me. Jenkins isn't a household name, and he doesn't really have a household appearance, either: he's tall, bald, and bland-looking, and at 60 doesn't appear all that different from when he first started popping up in movies, in such roles as the doctor in Hannah and Her Sisters who gently breaks its to the hypochondriac played by Woody Allen that he doesn't have a malignant brain tumor. Yet Jenkins is a crackerjack actor, capable of using what God gave him to surprising effect. His ability to suggest something cracked or wild inside a businesslike frame has made him a favorite of such directors as the Coens and the Farrellys, and David O. Russell, who used him in Flirting with Disaster as an FBI agent who wanted to adopt a baby to raise with his professional partner and lover, Josh Brolin. His best-known role may be the patriarchal undertaker in the HBO Six Feet Under, where his character was dead from the start of the series and still usually seemed to be the only person on the show who was having a good time. In the new movie The Visitor, which was written and directed by Thomas McCarthy, Jenkins has his shot at carrying a movie, playing a widowed economics professor who has disappeared inside his own orderly world. “I understood this man,” Jenkins told Jeremy W. Peters in an interview for the New York Times. “I understood his reluctance to reach out, to become part of things.”

That's actually not a surprise, given that McCarthy wrote the movie with Jenkins in mind and then worked closely with him in fleshing out the details. (A working actor himself, McCarthy seems to have a special affinity for showcasing actors who not many people would automatically see as leading man material; his first film as a writer-director was The Station Agent, which put Peter Dinklage on the map. Four years ago, McCarthy started feeling Jenkins out with regard to their working together. Then, as Jenkins recalls it, “About a year and a half later he called me and said: ‘I wrote this script. Would you take a look at it?’ He sent me the script, and I read it, and I just loved it. I mean, I just loved it. And I said to him, ‘Nobody’s going to give you any money to do this movie with me in the lead.’ He said: ‘That wasn’t my question. My question was, do you want to do it?’ And I said, ‘Absolutely.’ ” Having failed to talk his director out of hiring him, Jenkins now declares himself pleased with the resulting movie, as does McCarthy. The Visitor opens this coming weekend in New York and Los Angeles. Now if Jenkins can just survive the publicity tour...