Peter Vincent, Vampire Hunter is now a strangely familiar Vegas magician
New images from the currently filming remake of 1985's "Fright Night" depicts David Tennant in a publicity banner for his character Peter Vincent, a Chris Angel type Las Vegas Magician. The goatee'd magic man is almost unrecognizable from Tennant's hugely popular portrayal of the title character of the long running BBC television show "Dr. Who."
Peter Vincent was originally a washed up old actor who hosted a late night horror movie show called "Fright Night." Roddy McDowall played him as a sad and fearful shell of a man who finally redeems himself while helping the main character, Charley Brewster, vanquish a real life vampire (Chris Sarandon) who has moved in next door and begun killing his friends and assorted prostitutes.
The much younger Tennant playing a character with a completely different background to McDowall's Peter Vincent signals that the this remake will not be entirely faithful to the original script by Tom Holland, who also directed. The new version is penned by "Buffy The Vampire Slayer" writer and show runner Marti Noxon. The new film is being directed by Craig Gillespe (Lars and the Real Girl.) Tennant's too-serious gaze may be an indication as to the revamped film's sense of humor.
Does this documentary illuminate the publishing giant in some new way?
He is, after all, one of the great success stories in the history of publishing, and he played a key role in a permanent shift in sexual mores in America. He was a largely unrecognized force in the American Civil Rights movement, and his personal romantic life is so turbulent that it seems almost like a Greek tragic counterpoint to his tremendous success. Like it's so perfect it couldn't be written that way.
So do I think you could make a great movie about Hugh Hefner? Absolutely.
Is this that movie? Absolutely not.
I quite liked Brigitte Berman's Oscar-winning documentary about Artie Shaw, the clarinet-playing jazz musician. I thought it was atmospheric and evocative and really painted a picture of a time and place. Her latest film, "Hugh Hefner: Playboy, Activist and Rebel" is a well-meaning whiff, about as deep as an average episode of "The E! True Hollywood Story." It lays out several of the more significant landmarks for Hefner, but there not one moment in the whole film where I get any sense of Hefner as a person.
As a symbol? Sure. As an icon? Yes. But Hefner has always maintained a distance from the public by design, wearing his Halloween mask so long that it's become his face. Or in his case, his pajamas. I admire Hefner the way I admire Neo at the end of "The Matrix." He managed to bend reality to pure will and remake the world the way he wanted it.
When 'Groundhog Day' goes really, really wrong
As I gear up for Toronto, I'm really second-guessing the choices I've made about what to see, and I am keeping my ears open for any buzz about movies playing, and I'm watching trailers trying to see what really jumps out at me. I'm also seeing as many films as I can before going up there, so I can have reviews ready for things like "Fubar II," "Let Me In," "Stone," and "Easy A," freeing me up to see even more films at the actual festival.
Since this is the first year I'll have a press badge for Toronto, I plan to use it constantly, and I've already scoped out wifi spots around the theater where all the press screenings will be, hoping to find a spot I can sneak away to quickly between films.
I'll have a full preview piece of the festival and what I'm seeing later this week, but for now, I'm pleased to bring you the debut of one of the Toronto trailers, for a film called "Repeaters".
I have a feeling you'll hear "it's a really dark 'Groundhog Day'" used a lot when describing this film. I love that you can go to one festival and see things like this and "Black Swan" and "127 Hours" and "The Illusionist" and "Super," that range of stuff. Keeps every day interesting.
Here's part of the official synopsis, edited to preserve some mystery:
Music video legend Anton Corbijn makes a tough, bittersweet thriller
I love movies about men who are haunted.
Doesn't really matter which part of the process, either. A film about a guy going through whatever it is that will haunt him? The moment of his ruin played out as drama? Sure. I'm in. Or a movie about a guy just after the trauma, trying to live through it, struggling. I'm in. Or a movie about a guy who's been haunted so long he's become a ghost himself. All of that seems like fertile dramatic ground to me.
"The American" is about a man who has obviously done many terrible things before the film begins. But he's left that behind. He's got a girl. He's got a private place. Away from it all. And before the film's opening title comes up, all of that will be stripped away from him, and he'll be on the road, on his way to someplace he can hide, someplace he can go to ground and wait to figure out who's trying to kill him. Rowan Joffe's screenplay, adapted from a book by Martin Booth, is economical, just sentimental enough to be affecting, and smart.
It's smart because it knows that the answer of who is trying to kill him doesn't matter. What matters is that the man, the American, most often known as Mr. Butterfly, or Jack Sometimes Edward, is tired. He's got amazing skills. He's able to take care of things with ruthless efficiency. He's not a showboat fighter. Don't expect to see George Clooney doing kung-fu or jumping around or anything. He gets in close and he gets it done. People get hurt. He's cut from the sort of cloth that Travis McGee or Jack Reacher are cut. Knights in the wrong age, ready and willing to get things done.
Director Anton Corbijn thrills with 4 clips from the film
Whew! August is over, and as much as I love movies like "Piranha 3D" it's nice to start getting served slightly more mature fare. Meaty movies with good actors and sometimes, if we're lucky, real plots! Yes, Fall is here, and the cooler weather brings us better movies, hopefully starting with "The American" on September 1st.
Everything about "The American" has been looking good. From the retro Hitchcock-y movie poster to the perfectly scored trailer. Clooney plays a few different types, but it's clear that for this one we get "serious" Clooney. The one who spends most of the movie with a set jaw and squinty eyes only to make his movie-star smile sparkle more when it appears.
The rumor mill has Fox close to making choice about second film in spinoff franchise
No. Probably not.
But let's look at why this conversation is even possible.
Well, for one thing, if you're the maker of "Pi" and "Requiem For A Dream" and "The Fountain" and "The Wrestler" and "Black Swan," you are not the guy who is paying the light bills at 20th Century Fox. If you're the guy who made "Wolverine 2" for a respectable price and kept the studio's movie star happy, then you might be the guy paying the light bills. And that changes things.
Darren Aronofsky's had an amazing career, and whether you like or dislike his work, what he was created is distinct and alive and fascinating, worth studying and revisiting. I haven't seen his new film yet, but it's the first new movie I'll see once I land in Toronto next week. His work is that significant.
It's also been resolutely uncommercial up till now. I don't really study box-office, but I assume he made some money for someone on "Pi" and "Requiem," and that he's demonstrated a sense of how to do certain things on a budget, how to stretch a dollar, and I know "The Fountain" was an expensive experiment, but I hope in the end, enough people see that movie to push it into the black for the studio. "The Wrestler" seemed to make Fox Searchlight pretty happy, happy enough to make another movie with him. And that certainly puts him inside the Fox family. But has he ever been a guy who made a "Titanic" for anyone, or even a "District 9"? Not really. He's never had his commercial break-out moment.
Either someone was misquoted or George Miller is deliciously insane
I think it's fair to suggest that I am unreasonably excited about getting a new "Mad Max" film from George Miller. And, to be blunt, I don't really care if it's a sequel, a prequel, a reboot, or a kabuki musical version as long as it's got tons and tons of car stunts staged by Miller, the single best road action director of all time.
No... don't argue. You can list me other good car chase films, and I'm sure I'm a fan of many of the films you'll list, but for my money, no one has eve shot car action (or action in general) the way George Miller did in the first two films in the "Mad Max" series. Working with cinematographers David Eggby on the first film and Dean Semler on the second film, Miller created a style of shooting car action that is still unequaled, though oft-imitated. Placing his camera low to the ground and right in the center of the action, Miller made the act of driving seem like an existential expression of self, and not just a mode of transport.
In particular, I would say "The Road Warrior" is the single most kinetic car stunt movie of all time. Things happen in that movie that no stunt team should have walked away from, and every single time I've seen it with an audience, the temperature in the room goes up over the course of the film. People engage with it completely, and they react to the big stunts like they can actually feel the impact themselves.
And more importantly, what should we hope for?
The first thing you have to ask yourself is whether you care about a Fantastic Four movie at all. Do you like the characters? Do you like the films that already exist? Do you want to see another version of the material? In a world where "The Incredibles" exists, do we need anyone to keep trying to make a Fantastic Four movie in live-action?
20th Century Fox certainly isn't going to give up on the idea of the franchise, but they are going to reboot. Right now, "Fantastic Four Reborn" is the game plan. And although there's been nothing like a formal announcement, there's plenty of speculation and rumor out there right now, gaining enough critical mass through re-reporting that it has to be addressed.
Comic Book Movie is a very, very young site, and the rumors they're running right now are just rumors. Unproven. Until we see real progress on the film, take whatever you're hearing as part of the "wish list" phase of movie rumors, when fansites run rumors that are more about what they want than what they know.
Case in point: casting for any new "Fantastic Four" movie is still quite a way off. There are steps happening between now and then that will be news, milestones that will indicate we're getting close to real news about the film. Hiring a director would be one of those milestones, and they haven't done that yet. There are rumors about names like Joe Carnahan, David Yates, and James McTeigue supposedly in the running, and I'd be shocked if the list didn't contain those names, frankly. That's exactly the sort of filmmaker Fox would hire for these films. Yates is going to be hugely in-demand after the last two "Potter" films are released, and Carnahan and McTeigue are both guys who make exactly the sort of movie that Fox likes. I'm willing to bet there are a whoooooole lotta lists being written full of filmmaker's names.
A look at a John Belushi movie that nearly was
Last week, we talked about John Belushi's career in terms of the broad strokes, and I mentioned that there was one project in particular that I thought summed up the troubles faced by the actor during his damnably brief career in Hollywood, and this week, we'll take a look at the script for that project, and what its failure in the development process said about this business.
Don Novello is probably best known to audiences as the character he created and played in the '70s, Father Guido Sarducci. Best described as an uber-hip Catholic priest, Sarducci was a regular on "Weekend Update" and even released books and a stand-up comedy album called "Breakfast In Heaven" at one point.
Novello was also a writer, though, and his most notorious screenplay is called "Noble Rot," a film that was supposed to star John Belushi as the lead. It was actually rebuilt from a Jay Sandrich script called "Sweet Deception," and Novello reworked it almost completely. Belushi was a co-writer on the film, and he saw it as a chance to define his own onscreen persona. He was frustrated by offers to do films like Paramount's proposed "National Lampoon's The Joy Of Sex," where they wanted to put Belushi in a diaper for his sketch. He was dismayed at the idea of having to play variations on Bluto for his whole career, id-addled rage babies who just acted out. It's the same fear that Chris Farley always described as "Fatty Falls Down syndrome." I'd only ever read about "Noble Rot" until recently, so when the script landed on my desk, i was excited to finally get a look at the way Belushi saw himself, versus the way he was seen by executives.
The director of 'Paprika' and 'Perfect Blue' passes away from cancer
When I went to the Fantasia Film Festival in 2001, it was one of the first few film festivals I ever attended, and I was a little overwhelmed by the number of choices available and by the number of filmmakers I'd never heard of. One of the few titles that jumped off the schedule immediately for me was "Millennium Actress," the latest movie from Satoshi Kon. I knew his work already from the film "Perfect Blue," and I thought he was one of the more promising names in anime, so I wanted to attend the premiere and possibly meet the filmmaker.
Instead, I ended up seated next to him, and before and after the film, I got a chance to chat casually with him about his work, anime, science-fiction on film and more. He turned out to be a younger guy than I expected, and right away, from that first conversation, it was obvious that he was a guy who believed in the potential for animation to tell stories that no live-action director could pull off, using language unique to animation, and the force of his belief was enough to win me over.
I spent almost two years back in the '90s trying to get an R-rated animated horror film made, based on a novel I loved. My co-writer Scott and I worked with a producing partner named Kevin and a very talented animator named David Simmons who did a ton of design work for us. It was gorgeous, unsettling stuff, and every time we took the presentation into a new office, people would freak out over the quality of the work, and then tell us that they didn't believe anyone would ever see an animated film for grown-ups. This was the era of "The Lion King," and all anyone wanted to do was chase that film's success. Animated musicals. That seemed to be all anyone in Hollywood believed was possible with the medium. It got so frustrating listening to otherwise-smart people sell short an entire type of filmmaking that we eventually gave up and moved on.