Archive: January 2010 (91-98 of 98)

Jan 4 2010 07:27 PM ET

Comedian Louis CK talks about making Sundance a little more 'Hilarious'

The Sundance Film Festival is famous for many things — frenzied deal-making, heady buzz-building, introducing breakout talents and future arthouse hits — but one thing it is not known for is stand-up comedy. In fact, in all the years that the festival has been running, there has never once been a stand-up comedy film included in the lineup. Until now. Comedian Louis CK — who’s established himself as one of the most acclaimed comics around thanks to his HBO and Showtime stand-up specials Shameless and Chewed Up — has landed a stand-up comedy film called Hilarious in this year’s festival. The movie, which CK directed himself, features the same brand of scabrous, brutally honest, oh-my-god-did-he-really-just-say-that humor he’s become famous for in his previous specials — only more so, CK says. “The goal with this one was just to knock the hell out of the audience, to have a pure, condensed, murderous set that just about anybody would laugh at,” he tells EW. “It’s a very well-lubed-up show. It’s like the third version of the Macbook after the other ones that had the bugs.”

CK, who has had two previous non-stand-up projects screened at Sundance, says he wasn’t completely surprised Hilarious won a spot in the festival’s lineup: “Comedy and artsy-fartsy folks have a funny relationship, but Sundance is one of the more open organizations and I had a feeling they’d give it a shot.” (He didn’t get as friendly a reception when he submitted the film to the Toronto Film Festival: “The guy wrote back something like, ‘I prefer comedians like David Cross.’ It’s like, ‘Hmm, if he’s not wearing horn-rimmed glasses, I’m not into it.’”) Still, with theatrically released stand-up concert films few and far between these days, CK has no idea what will come of his inclusion in the festival: “We’ll see. If it sells, it sells. If not, at least we got to do Sundance.” Meantime, he has a pretty nice fallback: He’s currently in production on a comedy series called Louie for FX.

Jan 4 2010 05:45 PM ET

'Dune' remake back on track with director Pierre Morel

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Paramount has found a new director for its remake of the sci-fi classic Dune, after Peter Berg dropped off the project in October. The studio has hired Taken helmer Pierre Morel to oversee the movie. Paramount is currently looking for a new writer to incorporate Morel’s vision of the project into the original draft by Quantum of Solace scribe Josh Zetumer. Morel plans to make a very faithful adaptation of the 1965 book by Frank Herbert. The movie is a high priority for Paramount’s production chief Adam Goodman. Kevin Misher and Richard Rubinstein are producing.

Jan 4 2010 04:27 PM ET

The fun of January movies: Lowered expectations, less hype

In just a couple of hours, I’m off to a screening of Leap Year, the first major-studio movie to be released this year — which, if history is any guide, means that I should be in for a lousy time. The first post-holiday weekend in January has traditionally been a dumping ground for inferior product: the low-grade genre films that fill up (if not flush out) the pipes of the system before something better comes along. If a movie were really any good, goes the logic, then it wouldn’t be coming out in what is still the thick of the holiday/awards-season juggernaut. Yet one of the many things I love about being a movie critic is that history is never a very good guide. The rules, if that’s what you can call them, keep getting broken. Besides, it’s not every lowly January romantic comedy that gives you the chance to spend 90 minutes in the company of the lovely and charming Amy Adams. I’d say that my expectations for Leap Year now look something like this:

January romcom (-2) + Amy Adams (+2) x impossible-to-gauge generic ad campaign (1 + 1 – 1) = total blank slate

In other words: Who the f— knows?

Which is a rather liberating feeling. Leap Year is really a classic example of why I get a kick out of going to the movies in January. The expectations are so low that they’re all but nonexistent. And that’s kind of a nice, casual, and freeing attitude to take into a movie theater with you after a month’s worth of heavy, prestige, Oscar-bait masterpieces, each released with a bit more fanfare than the last. January movies, by contrast, kind of take you back to an earlier, quieter era (like, say, the late 1980s), before everything was hyped to within an inch of its life. READ FULL STORY »

Jan 4 2010 01:44 PM ET

Predict the Producers Guild nominees!

I just know I’m going to be completely useless at predicting tomorrow’s 10 Producers Guild nominees, but why not have a go at it anyway? One of the big question marks for me is Up. Over the years, the PGA has nominated The Incredibles and Shrek as part of its best feature list, but now that it has a separate animation category, will voters include it twice? (I’m thinking yes.) And since the PGA often nominates box-office hits that don’t end up making Oscar’s shortlist (My Big Fat Greek Wedding, Harry Potter and the Sorcerer’s Stone) which crowd-pleasers may get in there at the expense of some smaller films? Keeping all that in mind, here’s my best guess at the PGA top 10:

Avatar
An Education
The Hurt Locker
Inglourious Basterds
Invictus
Julie & Julia
Precious
Star Trek
Up
Up in the Air

Care to hazard a guess yourself? And while you’re at it, add me to your Twitter feed (@davekarger) for more Oscar news!

Image credit: Disney/Pixar

Jan 3 2010 05:30 PM ET

'Hurt Locker' wins National Society of Film Critics award

It’s already picked up Best Picture honors from the New York and Los Angeles film critics societies, and now The Hurt Locker has made a clean sweep of the three biggest movie-reviewer groups, winning the National Society of Film Critics prize for the top film of the year. Check out my critics-award chart here. The full NSFC list is below.

Best Picture The Hurt Locker
Best Director Kathryn Bigelow, The Hurt Locker
Best Actor Jeremy Renner, The Hurt Locker
Best Actress Yolande Moreau, Seraphine
Best Supporting Actor Christoph Waltz, Inglourious Basterds and Paul Schneider, Bright Star
Best Supporting Actress Mo’Nique, Precious
Best Screenplay Joel & Ethan Coen, A Serious Man
Foreign-Language Film Summer Hours
Non-fiction Film The Beaches of Agnes
Cinematography Christian Berger, The White Ribbon
Production Design Nelson Lowry, Fantastic Mr. Fox

Jan 3 2010 01:41 PM ET

Box Office Report: 'Avatar' is No. 1 again, soars past $1 billion worldwide

Thanks to astronomic word-of-mouth, inflated 3-D ticket prices, and consecutive holiday weekends that began on a Friday, Avatar continued its seemingly unstoppable climb to the Hallelujah Mountains of U.S. and global box office. According to estimates from Hollywood.com Box Office, James Cameron’s sci-fi opus grossed $68.3 million over New Years weekend, a tiny 10 percent drop from Christmas weekend for a $352.1 million domestic total — easily the biggest third weekend in the U.S. ever (2002′s Spider-Man had held the record with $45 million). Much more impressively, in just 17 days, Avatar has surpassed $1 billion in global box office. To put that in perspective, it took The Dark Knight pretty much its entire theatrical run just to make it to that milestone. (Another landmark: $66.4 million of Avatar‘s worldwide total is from IMAX theaters, a record for the mega-screen format.)

Avatar wasn’t the only film to ring in the new year with serious box-office bounty, either. Sherlock Holmes sleuthed out an elementary $38.4 million for second place, a 41 percent drop for $140 million total. Hot on its heels, Alvin and the Chipmunks: The Squeakquel chirped to $36.6 million, dropping just 25 percent for $157 million total and third place. (So what will the inevitable third film be called? The Second SqueakquelThe Threakquel?) It’s Complicated fell a bite-sized 15 percent, cooking up $18.7 million for fourth place and $59.1 million total. And in fifth place, The Blind Side actually improved upon its total last week, rising 8 percent for $12.7 million and $209.1 million total. (As EW noted yesterday, this means star Sandra Bullock is the only actress ever to have a film marketed on her star power alone pass $200 million in U.S. box office.)

In fact, with no major debuts to steal away fresh audiences, it was simply a fabulous weekend to be in movie theaters, period. Up in the Air pitched down an imperceptible 3 percent with $11.3 million and $45 million total. The Princess and the Frog hopped up 11 percent with $10 million and $86 million total. Even certified turkey Did You Hear About the Morgans? was up 4 percent, bringing in $5.2 million for a (still woeful) $25.6 million total.

Overall, the top ten box office was up 70 percent from last year, when Marley and Me was barking its way into filmgoers’ hearts.

Image credit: WETA

Jan 2 2010 02:28 PM ET

'Avatar' vs. 'Up in the Air': The most symbolic Oscar race since 'Forrest Gump' vs. 'Pulp Fiction'

On Academy Awards night, the moment just before the announcement of the Best Picture winner is always, of course, intensely dramatic — even if it’s one of those years when it has become obvious, by the end of the night, which film is going to win (hello The Sting, Gandhi, The Silence of the Lambs, Titanic). But the Oscars can be even more dramatic if you have no clear idea what’s going to win (hello Annie Hall, Driving Miss Daisy, Crash). And the years, to me, when they have the most drama are those in which the competition for Best Picture is dominated by two front runners, and each one of those movies stands for something radically different within the Hollywood cosmos. Then you have a horse race charged with meaning.

To me, the last Academy Awards year that really had that full-on, King Kong vs. Godzilla culture-war vibe was 1994, when the competition boiled down to Forrest Gump vs. Pulp Fiction. The fact that Quentin Tarantino’s jubilantly violent and head-twisty independent-cinema landmark had zoomed to the front ranks of the Academy Awards derby was enough to electrify the evening all by itself. Clearly, this was an acknowledgement, by the Hollywood establishment, that the indie movement was no longer just a bunch of eager rude upstarts but that it had truly arrived, and was a force to be reckoned with. But, of course, the Hollywood establishment doesn’t tend to like eager rude upstarts who rewrite the rules of their business. And so it was poetically perfect that the movie Pulp Fiction was competing against was Forrest Gump, a sentimental patriotic afflicted-hero fairy tale that seemed, in many ways, to be a kind of crowd-pleasing candy box of “mainstream” values. READ FULL STORY »

Jan 2 2010 01:14 PM ET

'Avatar' passes $300 million mark on Friday, and Sandra Bullock makes box-office history

It took director James Cameron’s Titanic 44 days to reach the $300 million mark. Twelve years later, Cameron’s Avatar has reached that same milestone nearly three times faster, in just its 15th day of release. The 3-D epic grossed an estimated $25 million on New Years Day, pushing the film’s domestic total to $308.8 million. If that pace holds, expect the film to shatter Spider-Man‘s $45 million record for the biggest ever third weekend in theaters.

With no major releases this weekend, the rest of the box office is shaping up pretty much like last weekend. Sherlock Holmes landed in the second spot, with an estimated $14.9 million; Alvin and the Chipmunks: The Squeakquel took third with $13 million; and It’s Complicated made $7.1 million for fourth.

Finally, Sandra Bullock rang in the new year by also making box-office history. With The Blind Side grossing $4.5 million on Friday for fifth place, Bullock is now the only actress ever to have a film marketed with her name solely above the title (i.e. based on her star power alone, and not a franchise or tentpole picture) pass the $200 million mark in domestic gross.

Click here for the full weekend box office report.

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