Yep. There is a movie called "The Smurfs" and it exists.
Is there really nostalgia out there for these characters? If you grew up in the '80s watching the cartoon on Saturday mornings, are you really hoping to see a new film with the little blue creatures? Somehow, I doubt it. This has struck me as one of the strangest miscalculations of this era of nothing but pre-existing properties since it was first announced, and now, finally, the film will be in theaters this Friday and we'll see what kind of appetite people actually have for the Smurfs.
One thing is clear, though, having taken both of my children to see the movie last night: this is not a movie that is aimed at grown-ups. It was written young, it plays young, and for a six year old and a three year old, it seemed to play just fine. I'll give it credit for making the two of them belly laugh every time Hank Azaria, chewing scenery with aplomb as Gargamel, evil wizard foe to the Smurfs, got hurt in some dramatic fashion. Listening to them laugh like that is exactly why I took them, and it worked well enough on that level.
Yep. There is a movie called "The Smurfs" and it exists.
When I was approached about publishing an exclusive clip from the new film "The Perfect Age Of Rock'n'Roll" here on the blog, I was interested because of the cast. But then the events of the last week, as we were looking for a place to schedule the clip, made it a little bit more interesting and, frankly, difficult, and we had some conversations about how to handle it before we agreed to premiering it this morning.
I suspect you'll understand why once you read the following synopsis for the film:
According to rock ‘n’ roll lore, age 27 is a fateful milestone. From Robert Johnson, Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison to Kurt Cobain, all stars we lost at this very age.
World famous rock star Spyder (Kevin Zegers – Transamerica, Frozen) has achieved fame and fortune with a smash hit debut album. This blinding success however, is built on the Faustian pact that capitalized on the genius of his long lost childhood best friend and band mate, Eric Genson (Jason Ritter – NBC’s The Event, Good Dick). Now Spyder retreats to his small hometown after his sophomore effort flops. Reconnecting with Eric after a seven year estrangement, the two recall their youthful ambitions and reexamine the choices they’ve made. Accompanied by the band’s ambitious, fiery manager (Taryn Manning – ABC’s Hawaii 5-0, Hustle & Flow, 8 Mile), the legendary music impresario August West (Peter Fonda – Easy Rider, 3:10 to Yuma) and a raucous crew of musicians, they set off on a cathartic journey along historic Route 66 that brings them closer to each other, their history and their destiny. Fueled by a stellar rock ‘n’ roll soundtrack that includes songs by Nirvana, Bob Dylan, Iggy & The Stooges, Alice in Chains, Muddy Waters, The Violent Femmes, Howlin’ Wolf, Jane’s Addiction, and many more, The Perfect Age of Rock ‘N’ Roll fully captures the energy, rebellion, and thrills of the rock ‘n’ roll lifestyle.
Last week, Amy Winehouse died at the age of 27, and as soon as that number got reported, I braced myself for it to trend on Twitter. And it did, as did Jimi Hendrix, Janis Joplin and Kurt Cobain. It is a sad and unfortunate coincidence, but as with any artistic field, there are superstitions and folklore that build up, and for this film to make that a jumping-off point is one of those strange synchronicities of timing that happens occasionally.
Daniel Craig was gracious enough to sit down with me in a field in Montana a few weeks back to talk westerns, sci-fi and the latest combo of the two, "Cowboys and Aliens."
The man is no stranger to physically demanding roles. His James Bond has been by far the most bare knuckled, down and dirty, body slamming Bond we've seen on screen. He's built like a pit bull, and has a steely gaze that can stop a truck, and/or blue eyes that melt your heart.
This made him perfect to play Jake Lonergan, the cowboy who wakes up in the middle of the desert with no memory and a piece of mysterious alien technology strapped to his arm in "Cowboys and Aliens."
I sincerely hope that Mike Fleming's report is correct and that JJ Abrams is finally ready to commit to directing "Star Trek 2."
Now that Paramount has dealt with the reality that the film won't be ready for the June 29, 2012 date they originally claimed for it, Jon Chu's "G.I. Joe: Retaliation" (which is evidently not called "Cobra Strikes" as previously reported to my endless amusement) will be moving up into that spot. I have no idea what to expect from that sequel as they've basically thrown out most of what made me cackle about the first film, like Joseph Gordon Levitt as Cobra Commander or Chris Eccleston as Destro.
On the other hand, having Abrams onboard as director for "Star Trek 2" makes me feel like the film is off to the right start. The first film works because it has a tremendous sense of energy and because that cast is so great together. The script had the unenviable task of both setting up a franchise and figuring out a way of folding the original series into it seamlessly. It's impressive how much heavy lifting they pulled off without ever forgetting to entertain.
Yes, she's talking about streaking.
To answer a question a few of you had about the Harrison Ford interview yesterday, no, that's not a green screen behind us with stock footage of cows and cowboys playing in the background. The press event was held on a ranch in Montana just outside of Missoula, and those are real cows, that's a real field.
Usually these interviews are held in cramped and hot hotel rooms, and it's not always the most pleasant experience for the actors who must sit there and give interview after interview all day long.
Here, instead of hotel rooms they had set up a row of tents that held all the lights and the equipment, with the back wall open to the field you see behind us. The ranch sent some cows and some cowboys to hang out back there as set dressing and the result is what you see in this interview.
Needless to say this was a nice change of pace, and a very relaxed atmosphere prevailed, which is probably why the subject of streaking came up.
Yep. That's exactly what I'd expect a Peter Berg "Battleship" to look like.
It's funny… Berg is one of those guys who has definitely made enough films now that we can get a handle on him as a filmmaker, and between his writing, his producing, and his directing, he seems to be a mass of fascinating contradictions. The rancid, curdled laughs of "Very Bad Things," the heartfelt sincerity of "Friday Night Lights," and the balls-out macho of "The Rundown" all feel like the work of different people, but I get the feeling that's Berg in a nutshell. Here's a guy who is capable of great sensitivity, but who has an inner musclehead that will not be denied.
"Battleship" looks, frankly, hilarious. Berg is smart enough to know that there is something inherently ridiculous about making a film based on that game, and so he's embraced that and made a movie that looks, based on this first trailer, to be blatantly aware of what it is. That Brooklyn Decker/Taylor Kitsch stuff on the beach is straight out of the "Armageddon" playbook… all we need are some animal crackers. And the dynamic between Kitsch and Liam Neeson looks awfully familiar as well for fans of Michael Bay's movie about the meteor the size of Texas.
Romantic comedy is a difficult genre to get right, and I think that's because audiences are so painfully undemanding when it comes to what they'll pay to see. As long as producers and writers and directors are rewarded for just maintaining the status quo and making the same thing over and over, there's no reason for anyone to try any harder. In the case of "Crazy Stupid Love," it is obvious that everyone involved is aware of the cliches they're up against, and they seem determined to avoid the traps that are inherent to this kind of material. They are more successful than not, thanks in large part to a great cast, and overall, the film is an above-average example of how to do this.
Although next to no one saw "I Love You, Philip Morris," the last film directed by Glenn Ficarra and John Requa, but it was a smart, wicked, impressive take on the romantic comedy that pretty much exploded all the conventions of the genre, not least because the story dealt with two men as the central couple. The two of them worked together as a writing team first on the films "Cats & Dogs," "Bad Santa," and the remake of "The Bad News Bears." Oddly, they did not write "Crazy Stupid Love," which was instead written by Dan Fogelman, whose credits include "Cars," "Bolt," and "Tangled." From that list of credits, I wouldn't really imagine a film like "Crazy Stupid Love" to result from the collision between them all, but it seems like their sensibilities are a nice mesh, and the result is something that definitely has a very mainstream sensibility, but punctuated with some genuine observation, some honest insight into the way we all struggle towards what we think we want, and how we often lie to ourselves about what that is.
Harrison Ford was kind enough to set-a-spell with me in Montana a few days back to talk about "Cowboys and Aliens," Jon Favreau's genre mash-up of sci fi film and western that opens this Friday. Set in the late 1800's, the movie answers the ageless question: 'what would happen if aliens invaded the old west?'
Ford's Character is Colonel Dolarhyde, a rich and rather bitter rancher. Dolarhyde is forced to team up with an amnesia stricken bandit (Daniel Craig) as well as the Indians he despises in order to fend off the invading horde of aliens and retrieve his kidnapped son and the rest of the townspeople.
I have to admit that I was pretty nervous about talking to the man. A feeling I shared with seemingly everyone else from the press. He's scary to us. He can be a man of few words and he does not suffer fools gladly. It's not hard to imagine how many "fools" become entertainment reporters, so you can see how he may build a reputation of being "difficult" among them.
`Comic-Con: 'Knights Of Badassdom' conquers Hall H with 'True Blood,' 'Firefly,' and 'Community' cast
SAN DIEGO - Saturday was a strange and sort of wonderful day in Hall H, and it felt like panel after panel had somehow slipped one by the programmers. I love it when the films that play in Hall H are the things that need attention, not the things that have already had more than a little hype ahead of time. For many people, the "what the heck was THAT?!" discovery of this year's Comic-Con was Joe Lynch's "Knights Of Badassdom." I thought the entire panel was entertaining and funny and confident, and it seemed to convince the tough audience sitting around me as well.
There's no denying the high concept of "Knights" is pretty much as niche nerd specific as possible, and that can be tricky when a distributor is thinking about how to sell something, but the film benefits from having a cast that is suddenly very high-profile and easier to sell. You're looking at a lot of overlap from different types of fandom, plus a sort of cumulative marketability that comes from the sort of cross-platform buzz you can generate with these people involved. If there's one thing I learned from this year's convention, it is that television draws huge crowds, bigger than the movie panels this year, and should not be underestimated as a commercial force.
SAN DIEGO - Handsomely produced, packed with a cast that all do expert work, directed well and polished to a high gloss, "Cowboys and Aliens" largely left me cold. It's a troubling misfire because it feels like all the elements were in place for something special and fun, and instead, it is an exercise with no result, window dressing in search of a film.
"Cowboys and Aliens" is not a bad film. It's not unpleasant. It's not offensive. I'm frustrated by my own reaction to it precisely because I acknowledge a certain sort of efficiency to the way it's built. Jon Favreau called his shot on this one when I visited him in the editing room of the film, talking about how important it was to make this a genuine Western first, and then to simply introduce one fantastic element. I saw the first half-hour of the film on that visit, and then again in December at Butt-Numb-A-Thon when Favreau came down to visit and make the same presentation. I liked what I saw then, and tonight, when I saw the finished version of that first act, I really admired the construction of that stretch of film. It opens well. The problem is, it opens so well that it sets up expectations that it utterly fails to meet.