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May 2008
10 movies sure to make a man cry
The Atlanta Journal-Constitution
All the “Sex and the City” this and “Sex and the City” that. OK, ladies, have your weekend. But you’re always saying that guys can’t relate, they can’t emote, they can’t show feelings, they just don’t understand.
Well, men do cry. I’ve seen it. I’ve done it.
Here are 10 movies and the moments that flip the duct switch to on:
1. “Rudy” (1993) — Especially when Sean Astin as the title character sits down on the bench and reads the acceptance letter he finally receives to go to Notre Dame. But also when he’s carried off the field.
2. “Brian’s Song” (1971) — When Billy Dee Williams as Gayle Sayers utters the immortal words … “I loved Brian Piccolo.”
3. “Field of Dreams” (1989) — Are you kidding me? It’s when Ray asks his father to play catch.
4. “Old Yeller” (1957) — I’m tearing up now just thinking about Tommy Kirk having to stand there with that gun.
5. “Saving Private Ryan” (1998) — It’s not really the cemetery stuff or Ryan being told he needs to “earn this.” The part that gets to me is watching Giovanni Ribisi’s medic character die.
6. “Glory” (1989) — The tragedy and cultural pain of it all is so intense — from the flogging of Denzel Washington to the final sequence when the soldiers in freeze frame face the fort’s cannon.
7. “E.T. the Extra-Terrestrial” (1982) — I’m a sucker for “I’ll be right here!”
8. “To Kill A Mockingbird” (1962) — For me, it’s the narration of the older Scout when she says, “One time Atticus said you never really knew a man until you stood in his shoes and walked around in them; just standin’ on the Radley porch was enough.”
9. “The Natural” (1984) — Roy Hobbs hits a home run. And that’s cool. But I think it’s Randy Newman’s astounding music as Hobbs rounds the bases in slow motion that seals the deal.
10. “Testament” (1983) — It’s when, in the wake of nuclear destruction and pain and tragedy, the parents gather and watch their grade-school kids perform a play.
What are the movies that make you cry?
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Some films need a hand finding their audience
The Atlanta Journal-Constitution
Dear Mr. Smithee,
When “The Matrix” came out, everyone made a big deal about its unusual visual and philosophical themes, but I’ve been a fan of “Dark City,” which came out a year earlier, and I think that in both cases there’s much more to be said for “Dark City.”
The fact that there was such a larger reception for the “Matrix” series makes me think that, while people say they are interested in it for the originality of its aforementioned themes, it is more that they were wowed by the special effects and action.
Would you agree?
ANDREW BLISS, Atlanta
Dear Defender of the Strangers,
So, Andy, in other words you fault people for preferring to go see the well-known Keanu Reeves and Laurence Fishburne in a complicated, often dark but exciting sci-fi drama instead of choosing to see the unknown Rufus Sewell and pre-“24” Kiefer Sutherland in a complicated, decidedly dark but still exciting sci-fi drama?
The reality of the two films’ polar popularities probably has more to do with marketing muscle than anything else. “Dark City,” with its moving skyscrapers and real-life veneer, came from then teeny-tiny New Line whilst “Matrix” was trumpeted by Warner Bros.
I can’t totally fault the multitude for not fully appreciating a film they never bothered to see. But I can fault them for being so completely unaware. “Dark City” is like “Donnie Darko.” The former deserved to have the same intense cult following on DVD as the latter.
In many ways, “Dark City” is far superior to “Matrix.” What “Dark City” does have is a tremendous supporting performance from Sutherland (even though I realize his character’s unusual tics certainly ticked off some moviegoers). It has more ominous villains and a more difficult plot to sift through for answers.
“The Matrix” had some of the most compelling, otherworldly action sequences I’ve ever seen. On that level, it’s far superior to “Dark City.”
In your view, it all comes down to originality. Who was first?
Well, in that case, it’s “Metropolis.” Or “The Wizard of Oz,” which long before your two movies asked onlookers to “pay no attention to that man behind the curtain.”
ALAN
P.S. You get a “Get Smart” cap and T-shirt.
Dear Mr. Smithee,
I do hope you can give me an answer.
In the 1960s or ’70s, there was a film on TV about a young boy who had many problems, one of which was wetting the bed. Stay with me. The young actor looked so much like the fellow who plays “Frazier’s” brother (David Hyde Pierce).
Can’t give you much more information except the boy’s mother embarrassed him by hanging his wet sheets out the window to teach him a lesson.
Any idea who this young actor was?
IRIS ROSS
Dear Waterlogged,
Personally, I don’t think David Hyde Pierce looks anything like Lance Kerwin, who starred in the 1976 TV movie “The Loneliest Runner,” the tale of a 13-year-old who suffered from a bed-wetting problem and was subjected to public humiliation by his mother.
As an adult, the character is played by Michael Landon of “Bonanza” and “Little House on the Prairie” fame. He directed “The Loneliest Runner,” too.
Landon’s birth name was Eugene Orowitz, and as a teenager his mother used to punish him for wetting his bed by hanging the unwashed sheets on a clothesline for all the neighbors to see.
According to www.wetbuster.com, Landon’s mom would also sometimes tie parts of the sheets to him.
By the way, Kerwin’s best film was “Salem’s Lot” (1979), one of the scariest made-for-TV movies ever.
ALAN
P.S. You get a “Kung Fu Panda” plush figure and book.
SPECIAL NOTE TO A SPECIAL READER: I must say, Robert Newman, nice try by signing your letter Vivian Darkbloom as though I might not notice a reference to “Lolita.”
But I was indeed thrilled by your salutation: “Dear Al (Please, it’s Alan. If I bring home Capone or Jolson, it’s Al).”
To that, I simply must reply, “Welcome to my humble chapeau!”
HAVE A QUESTION FOR MR. SMITHEE?
E-mail him at alansmithee@ajc.com or go to accessAtlanta.com and click on Movies. Please include your name, city and daytime phone number. Mr. Smithee can’t reply to every request, but inquiries chosen for publication will receive movie-related prizes.
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How many women will it take to make ‘Sex and the City’ a hit?
The Atlanta Journal-Constitution
Can “Sex and the City” beat “Indiana Jones” at the box office this weekend?
Guess what … it doesn’t really matter. What matters is the financial sheet and the prospects look mighty good that “Sex” will be profitable and could reach the point to demand a sequel.
Even better, for the past few weeks I’ve been approached by dozens and dozens of women who rarely ask me about movies. They’re rabid for “Sex and the City” and acting like fanboys rummaging through a closet in search of their best light sabre.
“Sex” box office estimations for this first weekend have ranged from $25 million to $45 million. The film cost roughly $50 million and needs to earn, because of marketing costs, somewhere around $100 million to break even. The real money is in DVD and ancillary sales (like TV) so already it appears “Sex” will eventually be profitable.
At this point, 90 percent of advance ticket sales this week at Fandango.com are for “Sex and the City.”
That’s a big number, but it also can be a misleading one. The ticket sales sites never reveal how many people are actually buying advance tickets. Is it 90 percent of 5 million? Is it 90 percent of 50,000? It makes a difference.
Women 20 to 55 are most interested in the film, according to the tracking firm Media by Numbers LLC. While “Sex,” as expected, has wide appeal among women and gays, interest is severely lower among other men.
Some of the last films I can recall with intense female interest were “The Devil Wears Prada” and “Thelma and Louise.”
But my sense is “Sex” is much bigger than those films. It’s the intensity women are displaying. They’re planning pre- and post-movie gatherings. At an early screening, I saw women dressed to the nines in heels and chic suits.
And here’s one indisputable fact with firm numbers. Of 9,300 respondents to a survey on Fandango.com, 80 percent said they would be attending a get-together before or after the movie to talk about it.
That’s 7,440 out of 9,300. That’s an impressive number.
Are you excited about seeing “Sex and the City” this weekend? What’s the plan for you and your friends?
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‘Sex and the City’ … from Christian Lacroix to a menages a trois
The Atlanta Journal-Constitution
The big-screen “Sex and The City” — or what soon will become known in America as the new girls’ night out — wastes no time in underscoring its purpose.
The film’s signature leading lady, Sarah Jessica Parker as fashionista and writer Carrie Bradshaw, reveals in narration that so many women, just like her and her inseparable friends, are “in search of the two L’s — labels and love.”
“City” amply serves both … from Christian Lacroix to a menages a trois.
For at least a month offscreen, Parker and her co-stars — Kim Cattrall, Kristin Davis and Cynthia Nixon — have been talking about the literally hundreds of designer duds they wear in the movie. Parker alone has 81 costume changes. Seriously, 81. Since the movie lasts roughly 2 hours and 20 minutes, it means she’s sporting a different eyecatching outfit every two minutes or so.
Mixed in is drama and comedy that swings from emotional highs to emotional lows and back with the kind of assurance that suggests the filmmakers just know they are connecting with their core audience.
“City,” which was screened for Atlanta critics earlier this week, is wrapped up in pregnancy, matrimony (did I correctly count three weddings in preparation or execution?), adultery, lust, shopping, intimacy, betrayal, more shopping and, oh yes, a little bit of day-job work.
The movie officially opens Friday but there are a few late-night screenings Thursday at some metro Atlanta theaters. Here’s what moviegoers will likely be talking about:
The fashion: Can you say Vera Wang, Diane von Furstenberg, Christian Dior, Oscar de la Renta, Vivienne Westwood, Gucci and Manolo Blahnik? That’s just a taste. Carrie’s first outfit is a stunner — a white flower dress that was a vintage gown shortened to a mini-dress and sporting one of the HBO character’s signature big, pinned-on flowers.
Instead of plastering Carrie’s face on the side of a bus, the film has her modeling wedding dresses for a fashion spread in Vogue. The centerpiece photo is a memorable Westwood design that Carrie later embellishes by placing a couple of quirky turquoise feathers on the side of her noggin. Give Parker’s character credit for later admitting she had “a bird on my head.”
The sex: Miranda (Nixon) has it with clothes on and then, later, off. A frustrated Samantha (Cattrall) is reduced to peeping at a Latin neighbor’s libidinal escapades, which includes that aforementioned menages a trois. Moviegoers also get a long look at his bum and a quick glimpse of his, um, Pinocchio. In other words, the film’s rated a strong R.
The men: Carrie’s Mr. Big (Chris Noth) has the most male screen time and plot turns. But, really, most of the men are used like Carrie’s glittering Eiffel Tower purse … they are accessories.
The dialog: There’s funny stuff: “Oh, honey, you finally got Botox. You’ll love it.” Sex talk: “I’d use every crayon in the box.” And some surprisingly serious psychological revelations: “I’m an emotional cutter.”
The walk-in closet: Mr. Big’s gift to Carrie is a massive, pristine, white-carpeted, master-bedroom-size shrine to hold her designer collection. The first “residents” are a pair of bright blue Manolo Blahniks.
Jennifer Hudson: Well into the movie, the “Dreamgirls” Oscar winner arrives as Carrie’s personal assistant Louise and instantly proves if she’s going to appear on film she needs to be singing. She does sing the closing song, “All Dressed Up in Love.”
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Sydney Pollack … and ‘Tootsie,’ ‘Michael Clayton’ and ‘They Shoot Horses Don’t They?’
The Atlanta Journal-Constitution
Sydney Pollack, who died on Monday about a month shy of what would have been his 74th birthday, won two Oscars for “Out of Africa” as director and producer.
“Out of Africa” is not one of my favorite movies, but I respect it. There are plenty of other Pollack movies that mean much more to me.
Pollack was not only prolific, but a great multi-tasker. He not only directed films, but produced them and could be called on to act in them, too.
Here are some of my favorite Sydney Pollack movies:
“Tootsie” (as director, producer and actor) — Very funny. And Dustin Hoffman is wonderful in drag. Pollack capably plays Hoffman’s agent
“Absence of Malice” (as director and producer) — Under Pollack’s able direction, Paul Newman gives a solid performance as a man under the scrutiny of an out-of-control newspaper reporter.
“They Shoot Horses Don’t They?” (as director) — A devastating portrait of desperate men and women willing to risk their health in a marathon dance in pursuit of an intangible dream.
“Michael Clayton” (as producer and actor) — A solid, smart movie about lawyers, murder and legal mayhem.
“Forty Shades of Blue” (as executive producer) — One of the hidden treasures of 2005, this intimate drama features Rip Torn as an aging rock ‘n’ roll industry legend.
“Sense and Sensibility” (as executive producer) — One of the best adaptations of a Jane Austen novel.
“Searching for Bobby Fischer” (as executive producer) — One of the best family movies ever with Max Pomeranc as a young chess genius.
“The Fabulous Baker Boys” (as executive producer) — A great drama about music with an on-fire Michelle Pfeiffer and Bridges brothers Jeff and Beau.
“The Player” (as actor) — Everything about Robert Altman’s Hollywood drama is great, including Pollack’s portrayal of an industry bigwig at a party at his house.
What Pollack movies do you like best?
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What did you think of the new ‘Indiana Jones’?
The Atlanta Journal-Constitution
Did you like the new Indiana Jones movie as much as I did?
“Indiana Jones and the Kingdom of the Computer Generated Imagery” seemed to have it all. Gophers, monkeys and an unbelievable swordfight atop moving vehicles in an Amazon jungle.
Seriously, I did enjoy a lot of the movie. I thought “Crystal Skull,” while far inferior to the original “Raiders of the Lost Ark,” was still fun and entertaining. It was far superior to “Temple of Doom.”
I thoroughly enjoyed the fistfight between Indy and that big Commie while thousands of army ants swarmed around them. (Talk about CGI!).
I think “Crystal Skull” is the second best movie to debut this summer. No way it beats “Iron Man,” which is the best movie so far this summer and last summer and the summer before that.
What did you like or dislike about “Crystal Skull”? Will you see the movie again?
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‘Indy 4’ earns $126 million … and counting
The Atlanta Journal-Constitution
“Indiana Jones and the Kingdom of the Crystal Skull” has earned $126 million in its first four days at the box office.
The film’s official, estimated opening weekend tally (Friday, Saturday and Sunday) is $101 million, making “Indy 4” the 10th biggest opening ever. The movie earned an additional $25 million on Thursday
On Sunday, the film took in some $33 million in 4,260 theaters in North America. It earned $37 million on Saturday and $31 million on Friday.
Though the film’s take is large, it trails the more than $151 million “Spider-Man 3” amassed its first weekend a year ago.
“Crystal Skull” easily won the weekend box office. In Friday’s figures, “The Chronicles of Narnia: Prince Caspian” was far back at No. 2 with $23.03 million. At No. 3 was “Iron Man” with $20.14 million. Since opening May 2, “Iron Man” has earned more than $460.02 million worldwide.
Will you go see “Crystal Skull” on Memorial Day?
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It’s not always a disaster when star calls shots
The Atlanta Journal-Constitution
Dear Mr. Smithee,
I have noticed that, more often than not, the movies in which a single actor or actress both stars and directs do not turn out very good. I am guessing that perhaps they make this mistake because they think too much of their abilities.
I would like to know if you agree with this, and, what are the best and worst movies that fall into this category?
DARBY CHRISTOPHER, Dunwoody
Dear You’re Watching Way Too Much Streisand,
Should you not at least start off your letter by thanking Sofia Coppola for realizing she’s a master off-screen and a disaster on?
I think there’s plenty of bad in this world —- like the frivolous snots who populate “The Hills” and the wheelbarrows of ever-mounting bills one must trot to the gas station to fill up one’s motor vehicle —- without some idiotic studio exec handing Kevin Spacey way too much money to make and star in that hideous Bobby Darin biopic “Beyond the Sea.”
Trust me, that bit of poo rolled into town four years ago and the dry cleaners still haven’t been able to extract the stink from my jacket.
Roberto Benigni’s “Life Is Beautiful” is a beautiful movie. It really is. But take a short gander at his live-action “Pinocchio” (2002) and you’ll quickly understand that “Life” is a fluke.
Here’s what’s bad: Barbra Streisand’s “Yentl” and “The Prince of Tides.” I’ve said it before and I’ll say it again. She took a supporting character (her own) in “Tides” and made the movie mostly about her. Shameless.
Here’s what’s worse: Robert Redford’s death march (re: “Lions for Lambs”) and George Clooney’s fumbling “Leatherheads.”
Here’s what’s criminal: M. Knight Shyamalamadingdong’s “Lady in the Toilet.” He may not be the lead in the movie, but he still acts in it and is responsible for its ineptitude. (Can’t wait to see “The Happening” because it could be worse; I love train wrecks).
And I give you these two words: Ed and Wood.
But, honestly, Darby, re-adjust your Netflix queue because there are ample examples of great movies where the actor also directed.
You need to see Kenneth Branagh’s “Henry V” and Warren Beatty’s “Reds.” You need to see Mel Gibson’s “Braveheart” and Spike Lee’s “Malcolm X.” You need to see Clint Eastwood’s “Million Dollar Baby” and, most certainly, “Unforgiven.”
See Woody Allen’s “Annie Hall.” And most certainly see Orson Welles’ “Citizen Kane.”
Watch Clooney’s “Good Night and Good Luck” and Kevin Costner’s “Dances With Wolves” (OK, I’ll admit it’s pretty hokey, but the music’s real nice).
And for directors who also act in their film, be sure you see Roman Polanski’s “Chinatown,” Martin Scorsese’s “Taxi Driver,” Quentin Tarantino’s “Pulp Fiction” and “Reservoir Dogs” and Sydney Pollack’s “Tootsie.”
ALAN
P.S. You get a “10,000 B.C.” cap and a “Nim’s Island” booklet.
Dear Mr. Smithee,
It is quite difficult to escape the “… Crystal Skull” these days. Every channel I turn to on TV has documentaries about the actual crystal skulls, documentaries about how real archaeologists try to preserve and protect rather than plunder, or sometimes just reruns of all the previous Indiana Jones movies.
This is by no means unique to “Crystal Skull,” though perhaps it is more pervasive than I’ve seen before. So I wonder:
Is this all orchestrated by the studios? Or are the TV channels simply gullible, having been conned by smooth-talking publicists into spending their own money to produce all these tie-in programs? Or is it just ratings-hungry networks inventing the programs all by themselves because they think they can ride some coattails?
TOM HORSLEY, Delray Beach, Fla.
Dear Crystaled Out,
Yes. Absolutely. Without question. All of the above.
It also stands to reason there would be certainly as much if not more than ever before. It’s been nearly two decades since the last Indy movie.
Enough time has passed for us to forget how lame the subsequent two films were and get all nostalgic and worked up about seeing an Indy adventure film again.
ALAN
P.S. You get a “The Bucket List” cap and a “Fool’s Gold” watch.
HAVE A QUESTION FOR MR. SMITHEE?
E-mail him at alansmithee@ajc.com or go to accessAtlanta.com and click on Movies. Please include your name, city and daytime phone number. Mr. Smithee can’t reply to every request, but inquiries chosen for publication will receive movie-related prizes.
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Out on Film getting new home, new producers
The Atlanta Journal-Constitution
Out on Film, metro Atlanta’s gay, lesbian, bisexual and transgender movie festival, will be held in November this year, move from Midtown to Decatur and begin to be partially overseen by new leadership.
Image Film and Video Center, which has produced Out on Film for some 20 years, is beginning to step away as the main administrative arm of the fest in order to give year-round attention to its other longtime entity — the Atlanta Film Festival.
“When you divide your resources over two festivals you can’t really do either as well as it deserves,” says Gabe Wardell, Image’s executive director.
Image is able to effect the change in part because of a $145,000 grant over three years it received this week from the Metropolitan Arts Fund. The grant is to replace lost revenue during the organizational restructuring.
While Image will be “stewards” for this year’s Out on Film — to be held Nov. 6-9 — and participate in the call for entries and film selections, the event will move to Theatre Decatur, which will become one of the fest’s major players, Wardell says. Also involved will be Carma Productions Inc., which annually prints guides to events such as Atlanta Pride.
“Ideally what we’d like to see happen is for a lot more of the gay, lesbian, bisexual and transgender community leaders to take ownership of the event,” Wardell says. “We can continue to give guidance but Out on Film needs a community. We’re using as a model the Atlanta Jewish Film Festival, which has such a large base and sponsorship support.”
The change means Image, which is altering its identity to Atlanta Film Festival 365, can do just that — focus on the Atlanta fest all year, especially while attending the Toronto Film Festival to seek out titles.
“We can now start planning in August and September, times when we’ve had to be focusing on Out on Film,” Wardell says. “This past year at Toronto, instead of seeing some films, we were writing copy for Out on Film and putting it together.”
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I know what I like … and I like the unusual ‘The Fall’
The Atlanta Journal-Constitution
Often film critics see so many movies all made in the same vein that just something not even perfect but unusual and quirky will catch their eyes.
I saw a strange little movie two weeks ago — it’s called “The Fall” (opening May 30 in metro Atlanta) — and I can’t get it out of my mind.
It’s probably the most beautifully photographed movie I’ve seen in 10 years. The story’s kind of a mess and plenty of its drama just doesn’t work, but “The Fall” is like, maybe, Terry Gilliam’s “Brazil” — so compelling and intriguing and different and bizarre that it begins to soak your soul.
Set in the silent era in Hollywood, “Fall” is much like “Pan’s Labyrinth” in that it’s about a little girl with a fanciful imagination. She’s in a hospital with a broken bone and is told an heroic story by another patient (he’s there because his suicide attempt failed) and she envisions the tale in her head.
Made over four years by the intriguing director Tarsem Singh (“The Cell”) on his own dime (he’s one of the go-to guys for commercials worldwide), “Fall” was shot in 26 locations in 18 countries. It stars nobody you’ve ever really heard of (well, the male lead is Lee Pace of “Pushing Daisies” and “Soldier’s Girl”).
“The Fall” will certainly be no blockbuster. The film’s visual artistry is too out there to draw the mainstream. The New York Times has called it “a genuine labor of love — and a real bore.”
But David Fincher likes it. So does Spike Jonze. And, now, I do, too.
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Spike Lee to make Michael Jordan documentary
The Atlanta Journal-Constitution
Spike Lee just recently filmed a documentary on Kobe Bryant (“A Day In the Life of Kobe Bryant” for ESPN, and now he’s turning his camera lens toward Michael Jordan.
At the Cannes Film Festival, Variety reports that Lee, who was born in Atlanta and attended college here, is ready to make a feature-length documentary on the pro basketball great and wants to bring the film and its star to France for next year’s fest.
The documentary is expected to include previously unseen footage of Jordan during his last two pro seasons in 2001-02 and 2002-03, all shot by NBA cameras.
Lee, a two-time Oscar nominee, is at Cannes promoting his new World War II drama “Miracle at St. Anna,” about black soldiers in Italy challenged not only by the Fascists they are fighting but racist commanders.
Are you interested in seeing a documentary on Michael Jordan from Spike Lee?
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‘Kung Fu Panda’ grounded in classic physical comedy
The Atlanta Journal-Constitution
The two main scriptwriters for DreamWorks’ “Kung Fu Panda” worked on TV’s heady “King of the Hill.” Well, that explains why the big-screen animated feature isn’t anything like the quippy, pop culture heavy monstrosities (can you say “Shark Tale”?) parents have often had to endure while trying to to find something to entertain their kids.
The humor in “Panda,” which debuts in theaters June 6, is based in the story’s characters and in classic physical comedy.
Clearly the filmmakers are fans of the earlier Cartoon Network series “Samurai Jack,” because “Panda” has pacing, epic scenes and opportunistic slow motion that harkens to Genndy Tartakovsky’s television masterpiece.
Jack Black voices Po, the big — and often clumsy — Panda pulled into martial arts warfare with formidable, renegade foe Tai Lung (voiced by Ian McShane).
Here’s what fans will likely be talking about once “Panda,” rated PG, arrives in theaters:
Po (or rather, Jack Black): As he did in “School of Rock,” Black is totally involved in his character. Po is a village noodlemaker in China but he dreams of being the kind of martial artist that would cause onlookers to “go blind” from his “true awesomeness.”
The fights: They are either violent and ultra-dramatic — the evil Tai Lung versus a band of heroic animals on a long suspension bridge — or violent and ultra-comedic — Tai Lung versus Po in the film’s ultimate showdown.
The humor: It emerges not only from the plentiful physical comedy, but from the sly dialog. During Po’s training, martial arts master Shifu (voiced by Dustin Hoffman) has to chide him: “We do not wash our pits in The Pool of Sacred Tears.”
The CGI: The colors are vibrant and include deep reds and blinding yellows. Scenes are often accented with stunning sunlight. Some of the characters, especially Shifu, sport individual hairs that realistically move in gentle breezes.
Will you take your family to see “Kung Fu Panda”?
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Early ‘Indy’ reviews say it’s good, but it’s no ‘Iron Man’
The Atlanta Journal-Constitution
“Indiana Jones and the Kingdom of the Crystal Skull” jumped into action Sunday at the Cannes Film Festival and, even though the movie doesn’t open until Thursday, reviews, many of them tepid, have started to pour in.
The Associated Press’ Christy Lemire doesn’t seem to care too much for “Skull.” She loved the film’s opening action sequences, but says once Harrison Ford’s had his reintroduction, “this fourth film in the Indy series really has no idea where to go.”
As of early Monday morning, “Skull” had a 73 percent approval rating on Rottentomatoes.com, which ranks it slightly better than the weekend’s box-office champ, “The Chronicles of Narnia: Prince Caspian” (71 percent). For those keeping score, the formidable “Iron Man” still basks in a 93 percent approval rating.
Here’s what some critics are saying about “Skull”:
Garth Franklin of Dark Horizons: “In spite of an over reliance on CG, an one too many obvious moments of George Lucas-involved tomfoolery, this is a great piece of studio-produced entertainment.”
Nick Nunziata of metro Atlanta-based CHUD: “It’s not the years nor the mileage that has made this film a disappointment. It’s the fact that stepping into the modern era, Indiana Jones has lost his magic.”
Richard Mowe of Boxoffice Magazine: “There is a real delight in the art of action cinema at work here, and the enormous satisfaction of being in a darkened room with someone you know can really kick butt.”
Roger Ebert of the Chicago Sun-Times: “I can say that if you liked the other Indiana Jones movies, you’ll like this one, and that if you did not, there’s no talking to you.” Ebert gives the film 3.5 stars.
Rafer Guzman of Newsday: “All the necessary ingredients are here: ancient riddles, rumbling stone technology, a precious artifact with supernatural powers. And Harrison Ford, as Indiana Jones, still looks dashing in a leather bomber jacket or professorial tweed.”
Claudia Puig of USA Today: “Even with the ponderous dialogue, there is considerable fun, and it’s good to see that Indy, though slightly weary, still has the goods.”
Do you plan on seeing “Crystal Skull” this weekend?
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Let’s just sit and stare for a while at Jessica Alba
The Atlanta Journal-Constitution
The Internet is full of all these beautiful ways people can waste time. Like having a staring contest.
Jessica Alba got called out on a Youtube stare contest and, like the pro she is, she fired back with a long, killer stare. I don’t see how this girl cannot ever blink her eyes.
Watch … if you dare!!
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Indy’s ‘Crystal Skull’ full of bugs, fist fights and an A-bomb
The Atlanta Journal-Constitution
The fourth Indiana Jones movie features lots of the familiar — the brown hat, the whip and having to make one’s way with a lighted torch through creepy tunnels full of cobwebs and muck. But it’s also full of things even Indy’s never seen before. Like an exploding atomic bomb.
“Indiana Jones and the Kingdom of the Crystal Skull,” among this summer’s most anticipated movies, debuted Sunday at the Cannes Film Festival and was also screened for the media in Atlanta and other U.S. cities. It opens in theaters on Thursday.
Rated PG-13, the film is full of bugs and fist fights, totes a little blood and delivers at least one well-placed, nighttime boo scare. Parents can expect the same level of violence, intensity and frights found in the first three Indy movies.
A stalwart Harrison Ford, packing his trademark smirk, returns in the title role in a story set in 1957, some 20 years after the third film. He fights plenty of Russians and the occasional South American native while hunting for a crystal skull that could open the door to otherworldly answers to mystic questions.
The action scenes are plentiful and involve multiple truck wars (remember “Raiders of the Lost Ark”?), a big-city motorcycle chase and a good, old-school fist fight.
Here’s what fans will likely be talking about after “Skull” opens on Thursday:
CATE BLANCHETT: Sounding a little like a female Boris Badenov, the multiple scene stealer dons a pageboy haircut and swaggers her way through the movie as Irina Spalko, the evil Russian psychic/scientist and Indy’s main nemesis. She spouts Communism and mind-control ideals as though she’s a pod-person in one of the “Invasion of the Body Snatchers” movies.
THE SUPPORTING CAST: Karen Allen returns from the first film as Indy’s love interest, Marion. Shia LaBeouf enters all cocky and full of himself as though he’s Marlon Brando in “The Wild One.” Later on in the film, he softens his character.
THE WEAPONS: More than one rapier, poison darts, machine guns, bolos, a switchblade and a tree limb.
THE PESTS: Scorpions, a long, long rat snake and what looks like hundreds of thousands of army ants.
THE HOMAGES: There are tips of the hat to Sean Connery (Indy’s dad in “The Last Crusade”) and the late Denholm Elliott (he played Dr. Marcus Brody in the first and third films). Those who keep their eyes glued to the screen will also get a glimpse at a very familiar treasure.
Are you looking forward to seeing the new Indiana Jones movie?
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Studio to distribute Georgia-made ‘Dance of the Dead’
The Atlanta Journal-Constitution
The indie horror film “Dance of the Dead,” filmed in Rome and North Georgia, will be distributed this fall by Lionsgate in a deal with Sam Raimi’s new partnership Ghost House Underground.
“Dance,” directed by Gregg Bishop, a 1992 graduate of McEachern High School in Powder Springs and 1999 graduate of USC film school in Los Angeles, had three sold-out screenings last month at the Atlanta Film Festival. It earlier had its world premiere at South by Southwest in Austin.
“Dance” mixes blood, gore and humor in relating how the rising dead invade a high school prom. Roughly 80 percent of the cast, many of them teens and young adults, are Georgians.
The film is expected to be part of Ghost House’s inaugural slate of offerings dubbed October Horror.
“‘Dance of the Dead’ has found the perfect home,” Bishop said in an e-mail press release.
The deal involves both Raimi (“Evil Dead” and the “Spider-Man” movies) and Rob Tapert (“30 Days of Night,” “The Grudge”).
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His popcorn tab must run in the high five figures
The Atlanta Journal-Constitution
Hi Mister Smithee!
I’m 10 years old, and my mom likes to read your column. She said the most movies she’s ever seen in a year was 250. How many movies you have seen in one year? How many movies you’ve seen all together?
WALTER WEBER, Decatur
Hi Now-Wee!
To tell you the truth, my noble son, I have never counted. I know people who do. They keep long lists with copious notes on every little aspect of cinema this and cinema that they’ve seen.
But I can tell you this: I have seen so many movies that on more than one occasion I have been watching a film and suddenly realized I’d already seen it.
Since so many people ask me this question in e-mails (and in person), I have at least attempted to reconstruct my viewings so far this year.
And I also must say, your mom has seen her fair share.
In the first 137 days of 2008, I have seen 124 full-length documentaries and features. (This does not take into account film shorts.)
If this pace continues, by year’s end I will expect to have seen 315 full-length films.
That sounds about right.
I do recall very clearly the most full-length movies I’ve ever seen in one day. It’s seven. At Sundance.
ALAN
P.S. You get a plush toy for “Kung Fu Panda” and a child-size “Ask Alan Smithee” T-shirt.
Dear Mr. Smithee,
With your resources … in the history of movies and theater, who is the only male actor who won an Oscar and also a Tony for the same show on film and on Broadway?
Now see if you can name the only two women in drama winning an Oscar and Tony for the same movie and show they appeared in.
BOB LEWIS, Boynton Beach, Fla.
Dear Nice Try,
Are you trying to get me to answer quickly and then, therefore, trip up?
Your first question does not specify drama or musical or supporting or lead performance. Therefore, the answer involves six men, each performing the same role onstage and in a film.
Jose Ferrer (“Cyrano de Bergerac”) and Paul Scofield (“A Man For All Seasons”) each won drama lead Tonys and best actor Oscars. Yul Brynner (“The King and I”) won a supporting musical Tony and a best actor Oscar. Rex Harrison (“My Fair Lady”) won a lead musical Tony and a best actor Oscar. Joel Grey (“Cabaret”) won a supporting musical Tony and a supporting actor Oscar. Jack Albertson (“The Subject Was Roses”) won a supporting drama Tony and a supporting actor Oscar.
The answer to the second question about drama actresses is Shirley Booth (“Come Back Little Sheba”) and Anne Bancroft (“The Miracle Worker”), who each won a drama actress Tony and best actress Oscar.
ALAN
P.S. You get a “Michael Clayton” bag and a child-size “Ask Alan Smithee” T-shirt (am almost out of the Smithee shirts and wee-ones are all I have left, so count yourself lucky, my friend).
Dear Mr. Smithee,
I’m looking for a word to describe my reaction to Alfred Hitchcock films.
They are too familiar to be scary, suspenseful or thrilling, but they do evoke a response.
Can you help me put a name to it?
KATHLEEN CLEBERG, Fridley, MN
Dear Misguided,
How about comatose?
ALAN
P.S. You get a “Son of Rambow” T-shirt and a child-size “Ask Alan Smithee” T-shirt.
FAN MAIL: Sometimes readers write just to wish all’s well. As in this kind missive from one sweet Dee Booker of Florida:
“I really enjoy your column and in fact share the copies of them with my sister who lives in West Seneca, N.Y. She gets quite a kick out of them. She does think that you are somewhat arrogant in your writing, but I told her that’s your style and that is why fans (like myself) read your articles.
“(I’m) going back up North and won’t be catching your columns. Wish we could have your type of movie news in the Buffalo News. See you next year. Have a great summer.”
My, ahem, esteemed response: You, too, my dear. And please tell your sis I take great offense at the unkind word “somewhat.”
HAVE A QUESTION FOR MR. SMITHEE?
E-mail him at alansmithee@ajc.com or go to accessAtlanta.com and click on Movies. Please include your name, city and daytime phone number. Mr. Smithee can’t reply to every request, but inquiries chosen for publication will receive movie-related prizes.
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Will you pay $20 for ‘Kit Kittredge: An American Girl’?
The Atlanta Journal-Constitution
Five cities, including Atlanta, are part of a select early opening of “Kit Kittredge: An American Girl,” starring Oscar nominee Abigail Breslin. While the movie opens nationally July 2, it can be seen early starting June 20 in Atlanta, Los Angeles, New York, Chicago and Dallas.
But here’s the rub. And since I think it’s significant, I’ll quote the press release sent to me Thursday by the studio Picturehouse: “With the purchase of each premium ticket ($20) the patron will receive a limited edition t-shirt.”
Did you catch that? Tickets will be $20 for a G-rated movie based on a popular doll for little girls!
My editor’s head still explodes every time I mention the earlier Miley Cyrus 3D concert film. She unhappily says she forked over $18 per ticket so her daughter could see that movie.
There’s everything to be said for pricing tickets according to what the market will bear. But there’s also something negative to say about taking advantage of the emotions of little children and their parents.
I think anybody who forks over $20 for a ticket should get a limited edition t-shirt. Because at that price, they’ve already bought it.
Will you pay $20 a ticket for you and yours to see “Kit Kittredge: An American Girl”? Do you think Hollywood is reasonable in pricing these special movies and special events?
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Justin Timberlake a bigger celeb than Muhammad Ali?
The Atlanta Journal-Constitution
Q100’s “The Bert Show” never called to ask what I thought about about their recent “Who Do You Know!” celebrity contest. Maybe they should have.
I could have saved show yakkers Bert, Melissa, Jeff and Jenn some major embarrassment. The contest — and it was a good one — challenged radio listeners to use their personal connections and get the biggest celebrity they could to call the station to win money for charity.
Jessica Biel called. So did Ben Affleck, Morgan Freeman, Fran Drescher, Gwyneth Paltrow, Sean Connery, Bette Midler and others.
Trouble is, when they got around to selecting who was the biggest celebrity who called, “The Bert Show” chose Justin Timberlake as No. 1 over … get this … Muhammad Ali.
At this moment my head is in my hand because I can’t believe anyone on the planet would make such a dumb move.
I mean, Timberlake is a big celebrity. But no way does he even come close to Muhammad Ali.
Granted, Ali was never a Mouseketeer. Far as I know Ali never appeared on Ashton Kutcher’s “Punk’d” to get so upset during the prank being played on him that he called his mama. Ali didn’t expose Janet Jackson’s breast. Nor did he ever date Britney Spears.
So maybe Ali isn’t the bigger celeb. All he did was win the world boxing title three times! All he did was emerge during the 1960s as a fighter who could command as much if not more media attention than Marilyn Monroe, Elizabeth Taylor and Richard Burton.
I have been around celebrities most of my life. I can tell you three times I was rendered speechless.
No. 1: I was working in a busy newsroom in the early 1980s when, unexpectedly, Ali walked in with the publisher. The entire newsroom stopped cold. And it was close to deadline time. Ali slowly walked around and spoke to everyone. It was amazing.
No. 2: When Ali appeared to light the cauldron at the 1996 OIympics in Atlanta.
No. 3: While driving and listening to “The Bert Show” and realizing that the celeb who had just called the station was Ali.
I’ve seen Timberlake in person. He’s a fine celeb. A nice guy. But he lacks the charisma of an Ali.
Oh, what was it my once-wee son, Cecil B., said about Justin Timberlake as our biggest male pop star? Oh, yes. It was this: “After Michael Jackson, I guess J.T. is what we’re left with by default.”
The argument at the radio station shouldn’t have been about Timberlake vs. Ali. It should have been about Ali vs. President Carter.
Who do you think is the bigger celeb — Timberlake or Ali? Or would you have named someone else who called the station as the biggest celebrity?
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Are you ready for Michael Moore’s ‘9/11’ sequel?
The Atlanta Journal-Constitution
Michael Moore’s next documentary will be a followup to his controversial “Fahrenheit 9/11.”
The Oscar-winning filmmaker’s as-yet untitled 9/11 sequel, in the works now and being shopped to international studios at the Cannes Film Festival, will apparently follow events as President Bush’s popularity has fallen and the U.S. economy has worsened.
The film could be released as early as spring 2009.
It’s a bold move, especially considering how American moviegoers have for the most part shunned recent features and documentaries — such as “Rendition” and “In the Valley of Elah — that have dealt with depressing issues surrounding the war in Iraq and Afghanistan.
What do you think of Michael Moore? Will you see his sequel to “9/11”?
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How you can win free movies for a year
The Atlanta Journal-Constitution
How would you like to be the proud owner of movie passes that would let you see one free movie a week for the next 52 weeks?
In conjunction with the opening of the new AMC Avenue Forsyth 12 in Cumming, the theater chain is holding a contest with 100 winners of the free movie passes.
The first 100 guests who show up dressed as their favorite celebrity or movie character for the theater’s grand opening on Friday will each win an envelope containing 52 passes for free admission to the Avenue Forsyth 12 good until May 16, 2009.
Costumed winners must be at least 18 and have a photo I.D. Starting at 4 p.m. Friday, guests can line the theater’s red carpet and will walk in at 6 p.m.
The theater is located at the southwest corner of Ga. 400 and Peachtree Parkway (Highway 141).
Need some ideas for a costume? I’d suggest Batman or Shrek. Iron Giant would be cool. Charlie Chaplin. The Little Mermaid. Or maybe you should fashion yourself into Nick Nolte’s mug shot.
Who or what would you dress up as?
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Truth be told: ‘Speed Racer’ finished 3rd
The Atlanta Journal-Constitution
What’s the latest game in Hollywood? Manipulating your box office estimates so things won’t appear as bad as they are.
Take “Speed Racer,” for example. Last Saturday I was hootin’ and hollerin’ at home when I called up Friday box office figures and saw that not only was “Iron Man” trouncing “Speed,” but that the Ashton Kutcher-Cameron Diaz disgrace known as “What Happens in Vegas” was at No. 2, slightly ahead of “Speed.”
By Sunday of course, that had all seemed to change as three-day estimates were that “Speed” finished at $20.2 million to “Vegas’” $20 million.
But … and it’s a really big but … Warner Bros.’ Sunday estimate for “Speed” was a little too generous and off by about $1.6 million.
The final box office return: 1. “Iron Man” with $51.2 million (about $700,000 above Paramount’s three-day estimate), 2. “What Happens In Vegas” with $20.2 million (up $200,000 from Fox’s estimate) and 3. “Speed Racer” with $18.6 million (down $1.6 million from Warner Bros.’ estimate).
How does this happen? Well, so that Hollywood can tout its millions at the box office on Monday, studios provide only estimates for Sunday’s take. Those estimates are determined Sunday morning in Hollywood.
It is embarrassing for the weekend’s main new movie to underperform, so some industry watchers claim studios will cushion some films to make them appear stronger.
Why? Generally, the public knows only the estimated results. All day Monday all they hear is that, in this case, “Speed Racer” is No. 2. Few realize later that “Speed,” when final tallies are in on Monday, actually finished at No. 3.
This same result happened in March with another loser of a movie — Universal’s “Leatherheads.” George Clooney’s comedy had an estimated finish at No. 2. In reality, it was a sinker at No. 3 its opening weekend.
Are you surprised that “Speed Racer” fell short? If you didn’t go see this movie, why?
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‘Iron Man’ crushes ‘Speed Racer’
The Atlanta Journal-Constitution
The contest at the weekend’s box office wasn’t between “Iron Man” and “Speed Racer.” The former finished comfortably in the top spot, amassing $50.5 million.
The battle was at the also-ran No. 2 spot where “Speed” ($20.21 million) just barely squeaked by the inane comedy “What Happens in Vegas” ($20 million).
What was good about “Speed Racer”?
Well, for a while I was slightly amused by the monkey Chim Chim.
And I liked the bright colors.
Safe to say, after I type this sentence I’ll never think of “Speed Racer” again.
Did you like the movie? What were your favorite parts? Or, like me, did you go see “Iron Man” again?
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Atlanta’s Afemo Omilami cast in N.C. movie
The Atlanta Journal-Constitution
Atlanta-based actor Afemo Omilami will portray civil rights activist Golden A. Frinks in “Blood Done Sign My Name,” the film adaptation of Timothy Tyson’s book about an African American Vietnam vet falsely accused of killing a white woman in North Carolina.
“Blood” will begin filming this month in Charlotte and co-stars Nate Parker (“The Great Debaters”). The director is Jeb Stuart, who wrote “Die Hard” and “The Fugitive.”
During the civil rights movement, Frinks, who some called “The Great Agitator,” became known for conducting non-violent acts of protest.
Omilami recently completed two more episodes of TV’s “Ghost Whisperer” and last month had stage roles in “The Piano Lesson,” “Jitney” and “Seven Guitars” at the Kennedy Center in Washington for director Kenny Leon.
With his wife Elisabeth, Omilami co-directs the Hosea Feed the Hungry and Homeless program in Atlanta.
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In honor of ‘Vegas,’ what’s your best Sin City story?
The Atlanta Journal-Constitution
Las Vegas, with its get-drunk dance clubs, cool pools and happenin’ casinos, is part of the setting of the Cameron Diaz-Ashton Kutcher comedy “What Happens in Vegas.”
Anybody who’s ever been there has a Vegas story. You know, the one you’re not supposed to tell because of the modern culture pledge that … what happens in Vegas, stays in Vegas.
But that doesn’t mean you can’t talk about other people’s stories.
One of my favorites involves a certain esteemed AJC movie columnist with the initials A.S. His best Vegas story involves a post-poker game party, a quart of gin, two showgirls and the unlucky appearance of the girls’ angry boyfriends. But that’s all I’m saying.
What are the best legendary Vegas tales you’ve heard … or witnessed? And, please, don’t divulge names and be sure to keep your stories clean.
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If you’re like me, skip ‘Speed Racer’ and see “Iron Man’ again
The Atlanta Journal-Constitution
Here’s my indubitable list of what matters most among new movies this weekend:
1. “Speed Racer.” Slow to get in gear but totally committed to its pop-art world concept. (Psst: Won’t blame you if you end up seeing “Iron Man” again instead).
2. “What Happens in Vegas.” Dedicated to the Hollywood tradition of mindless, boisterous romantic comedies sold on the personalities of overmarketed talent.
3. “Redbelt.” Fascinating jiu-jitsu drama for a little while. Complicated for a bit longer. And by the time the ultimate fight kicks in, it jumps the tracks.
4. “Then She Found Me.” Mildly watchable, but yet another example of why Helen Hunt went from Oscar winner to also-ran.
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Lesson learned: Play your vegetables!
The Atlanta Journal-Constitution
The 11-member Vegetable Orchestra is based in Vienna. The group shapes instruments out of veggies and performs concerts across the globe.
Here’s a sampling of a work from market to stage.
Enjoy!
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Screen on the Green’s final film: ‘Footloose’
The Atlanta Journal-Constitution
The final film for this year’s free Screen on the Green will be … (drumroll, please) … 1984’s “Footloose” with a toe-tapping Kevin Bacon.
Moviegoers voted online at Peachtreetv.com for Screen on the Green’s fifth and final film to be shown on June 26. The losers: “Rocky” and “Back to the Future.”
The series starts May 29 with “Jaws” at Centennial Olympic Park. Other films will be “Big Momma’s House” on June 5, “Chicago” on June 12 and “E.T. the Extra-Terrestrial” on June 19.
Due to the drought, this year’s Screen on the Green was temporarily moved from Midtown’s Piedmont Park to downtown.
By the way, guess I should have voted in the final film selection. I would have preferred “Back to the Future.”
What’s your feeling about the choice of “Footloose”? Will you go to Screen on the Green this year?
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Get ready for ‘Iron Man’ sequel in 2010
The Atlanta Journal-Constitution
How hot is “Iron Man”? Smokin’, my friends.
The movie’s not even been out a week and already Marvel’s film division has picked a date for the sequel: April 30, 2010. Which means the live-action comic book character will once again open Hollywood’s summer movie season.
Other Marvel films in the pipeline: “Thor” on June 4, 2010; “The First Avenger: Captain America” on May 6, 2011; and “The Avengers” (which teams Iron Man, the Incredible Hulk, Captain America and Thor) in July 2011.
Final opening box-office tallies place “Iron Man” at $102.1 million in North America for Thursday-Sunday and at $198.2 million worldwide for Wednesday-Sunday.
And early indications are that “Iron Man” could finish No. 1 again this weekend against “Speed Racer.” “Iron Man” is playing in more than 4,100 theaters while “Speed Racer” will debut in about 3,600.
Are you stoked by Marvel’s sudden surge and its plans to bring more characters to the big screen?
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Does ‘Speed Racer’ have enough velocity?
The Atlanta Journal-Constitution
The summer’s second big movie, “Speed Racer,” better get it in gear.
With mostly unflattering early reviews from older critics (New York Magazine calls it an “eyesore”) and fan grades being all over the map (boxofficemojo.com readers who’ve seen the film generally give it an “A” or an “F”), “Speed Racer” might have a hard time this weekend climbing over the formidable, fun and entrenched “Iron Man” at the box office.
Rated PG, “Speed Racer,” starring Emile Hirsch in the title role, is a futuristic homage to the 1960s cartoon. A simple good-vs.-evil race car story, it’s all pop art colors and built-for-speed races where the cars and camera, like a churning carnival ride, go up, down, swing to the side, flip over, turn, twist and defy gravity.
“You might admire it as a Warholian blur of pop art,” writes Ian Nathan of Empire Magazine, “gawk and gasp at its Hot-Wheels-for-real dynamism, or get a headache.”
In Atlanta, Warner Bros. screened the two-hours-plus movie for critics on Monday night. Here’s what moviegoers will likely be talking about after “Speed Racer” opens on Friday (there are also a few late-night Wednesday and late-night Thursday screenings at several theaters):
THE COLORS AND IMAGERY: The film has a distinct otherworld feel, a kind of cross between “The Cat in the Hat” and “2001: A Space Odyssey.” The comic-book colors are bright and deeply vivid, the kind John Waters will love. Visually, it’s as if humans dwell in a candy-colored world eons after the live-action “The Flintstones.” “Speed Racer” is also the type of film that literally shows a greedy character with dollar signs in his eyes.
THE MONKEY: Speed’s hyperventilating little brother Spritle (Paulie Litt) has a pet chimp named Chim Chim, who steals every scene it’s in. The monkey hangs in there to deliver surprised expressions and, in explaining one reason why the film is rated PG, does what a fighting monkey does — hurls poo.
CULTURAL REFERENCES: There are lots of them, including dialog that drops a mention of the Commodore 64, the popular 8-bit home computer from the early 1980s.
THE TALK, TALK, TALK: There seems to be more race car announcers and analysts than main actors (one announcer is Peter Fernandez, who provided the voice of Speed Racer and Racer X in six episodes of the original “Speed Racer”). The movie overflows with exposition and plot updates and reprises. Perhaps it’s an unintentional joke, but when the young Speed Racer in school is supposed to be taking a test while his mind wants to be elsewhere, the words on the page literally become “blah blah blah.”
THE VIDEO GAMESMANSHIP: Speed’s macho car, the Mach 5, is outfitted with all kinds of James Bond-style gadgetry, all operated with a circular control panel with buttons labeled “A,” “B,” “C,” etc., just like your joystick at home.
Are you planning on seeing “Speed Racer”?
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What was your favorite scene in ‘Iron Man’?
The Atlanta Journal-Constitution
I hope Hollywood, basking now in the prospects of a profitable summer now that “Iron Man” is a proven hit, realizes what is going on.
“Iron Man” has earned more than $200 million worldwide in just five days because it’s a fun movie with a compelling story and excellent performances. The CGI is good too, but the film doesn’t totally ride on it.
Because all those elements clicked, word of mouth spread quickly and the audience developed beyond the standard fan boy base. Some 57 percent of the weekend audience was above age 25.
All weekend, I’ve been trying to decide which scene in the movie was my favorite. I especially liked the first “learning to fly” sequence in Tony Stark’s garage. But I also like Iron Man’s first entrance, with Robert Downey Jr. in primitive cast iron gear kicking some insurgent butt in a far away cave.
What was your favorite moment in “Iron Man”? Will you see the movie again?
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Tyler Perry is on Time’s list of world’s 100 most influential
The Atlanta Journal-Constitution
What does Tyler Perry have in common with President Bush, the Dalai Lama, Rupert Murdoch, Russia’s Vladimir Putin, China’s Hu Jintao and presidential candidates Barak Obama, Hillary Clinton and John McCain?
In Time magazine’s estimation: world influence.
Atlanta’s premier movie mogul is among the nearly 30 artists and entertainers named Thursday to Time’s list of the world’s 100 most influential people. Also making the list: teen singer Miley Cyrus, George Clooney, Mariah Carey, filmmakers Joel and Ethan Coen, Hollywood comedy guru Judd Apatow and TV finance adviser Suze Orman. Brad Pitt and Angelina Jolie, Oprah Winfrey and Mia Farrow were cited in the list as “heroes and pioneers” for global goodwill.
Actor Rockmond Dunbar, who recently completed filming of “Tyler Perry’s The Family That Preys” in Atlanta for this fall and who is directing and co-starring in his own “Pastor Brown” now filming in Decatur, said Perry has been a huge inspiration for African-Americans.
“He’s really stepped out of the box,” Dunbar said. “He’s all about ‘Hey, let’s do it. Let’s tell a good story. Let’s uplift our people. Let’s uplift humanity. Let’s entertain.’ And when Hollywood said there’s no market for that, he just broke it. He said, ‘Yes there is and I’ll show you where.’”
Once homeless and so poor he had to live in his car, the 38-year-old Perry is known for inspirational stories and donning drag to play the crotchety, foul-mouthed signature character, Madea, in his hit films and stage plays.
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What’s a busy intersection without a traffic light?
The Atlanta Journal-Constitution
What’s a busy intersection without a traffic light?
Well, at this specific juncture in India it appears it’s every driver for himself.
Enjoy!
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‘Iron Man’? Yes! ‘Made of Honor’? No!
The Atlanta Journal-Constitution
Here’s my indubitable list of what matters most about new movies this weekend:
What I like about “Iron Man”:
Robert Downey Jr. is spot on treading the difficult waters of simultaneously being arrogant, witty and charming.
The action sequences are intensely focused, pulling the viewer into the scene. Explosions (especially the first one in the first firefight) are perfectly timed.
Co-stars Jeff Bridges, Gwyneth Paltrow and Terrence Howard deliver strong support to Downey.
The film’s two hours and change feel like a full meal.
What I don’t like about “Made of Honor”:
There’s not one witty line in the entire film.
It generates cheap laughs from pratfalls.
While I watched the movie I kept thinking, “That reminds me of ‘My Best Friend’s Wedding,’” “That reminds me of ‘Bachelor Party,’” “That reminds me of ‘Picture Perfect,’” etc.
What? Misogyny is charming? Is that true?
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