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David Poland

By David Poland

BYOB Before The Ball Drop

24 Responses to “BYOB Before The Ball Drop”

  1. leahnz says:

    i guess that’s better than before the balls drop

  2. Joe Leydon says:

    Unfortunately, that already happened. A long time ago.

  3. Krillian says:

    Call me crazy but I think The Rite with Anthony Hopkins has a shot at being profitable. It’ll be the first horror movie to open in months. (I don’t think Black Swan counts; award-bait movies are “thrillers.”)

  4. bulldog68 says:

    Gotta say, The Rite trailer gave me a chill. That rarely happens. Any 2011 trailers exciting you guys? I quite enjoyed the Rango trailer as well. And surpisingly, the Arthur Christmas trailer. Two animated films, but they stuck with me for different reasons.

  5. bulldog68 says:

    By the Joe and Leahnz, Happy Holidays to you and yours. Thanks for all the movie info over the year. My recent move to Canada was quite an experience and reading you guys put some normalcy in my days.

  6. bulldog68 says:

    that should be “by the way”

  7. Geoff says:

    It’s funny, but am I the only one who has found the trailers for Rango positively creepy? No way, I’m taking my daughters to see that – I get the look they are going for, but just not appealing from my perspective.

    The Battle Los Angeles trailer is very impressive, but no way the movie lives up to that – really tight use of imagery and building music.

    I saw the Real Steel trailer before The Fighter last weekend and the whole audience was laughing, but kind of in a good way – looks like a ridiculous blast, think I’ll have to see it. And of course, there was also the trailer for the new Transformers movie – wow, I was not the only one who felt a complete bait and switch with that one. Nice Apollo footage and some creepy imagery into the surface of the Moon reminding me of the first Alien and then…..a fucking Decepticon face! There were a good amount of groans, sure it will still make a ton.

    Source Code trailer has it looking fun, eager to see the next Duncan Jones.

    Have to admit that Hall Pass looks very funny and even though I’m completely sick of the trailer by now (is it playing before every freaking movie?!), I am curious about No Strings Attached since it’s by Ivan Reitman – he’s due for a comeback, right?

    The Lincoln Lawyer – looks intriguing, but talk about ending without a punchline, strange trailer. Have to admit that I kind of got a kick out of Matthew McConaghey and Josh Lucas being in the same movie – do they play brothers or even twins???

  8. bulldog68 says:

    The Real Steel trailer is just unfortunate timing when you look at the transformers trailer. It looks like the ‘rock em sock em robots’ version. It comes out 3 months after Tran3, so there’s some space, but it looks one shade above Death Race and Gamer.

    In terms of comedy, Cedar Rapids made me laugh. And Simon Pegg’s Paul is a must see in my book.

    Ever since Matthew McConaghey sold himself to the devil and acted in shitty rom com after shitty rom com, I mourned the loss of what I thought would be great dramatic actor. He killed in A Time to Kill and I had looked forward to more great roles from him. Hopefully Lincoln Lawyer will be a step in taht direction.

  9. christian says:

    Rango looks interesting from the casting but the gags in the trailer are cookie-cutter animation (smug, smirk, shit).

  10. sanj says:

    Lynch Mob Movie Trailer

    overall – bad acting / bad directing / bad music
    a horror film with no budget

    Michael H. Cole plsys a bad guy with a cool voice

    if he played the same creepy character in any other big budget horror / drama film he might get some acting award

    onlyy if Michael Cole gets lukcy and gets in a movie
    with a good director will the gurus of gold / big movie
    critics even notice him …

    there are 1000’s of actors that just need that one chance

  11. a_loco says:

    Just to take this conversation out of Hollywood a little bit…

    Anyone in Canada knows Exclaim is a hacky magazine, but this is one of the more perceptive Film Socialisme reviews I’ve read thus far (perceptive Film Socialisme reviews are few and far between):

    Disclosure: I know the guy who wrote it, and he’s no hack.

  12. leahnz says:

    lol joe, indeed

    bulldog, right back at you, all the best to you and yours these holidays and the impending 2011. i for one enjoy your perspective here so it’s always good to see you post, i hope you keep it up (tho often when i say that here and put my heart on my sleeve i don’t see that person post again for a good long while so maybe i jinx it, hopefully not in your case)

    did you know michael pare is in ‘lincoln lawyer’? (wasn’t it here that michael pare came up in another thread…? oh dear)

  13. Missy says:

    Limitless starring Bradley Cooper & De Niro will be a surprise hit.

  14. Eric says:

    I agree that The Rite trailer is pretty good but has Anthony Hopkins made anything but utter shit since 1998 or so?

    Has there ever been another actor whose career took such a sudden drastic turn from quality to crap? (De Niro maybe?)

  15. bulldog68 says:

    Hey Eric, you forced me to IMDB Anthony Hopkins to see why 1998? So which was it for you, Meet Joe Black or Zorro? I always thought MJB was bloated.

    Its odd that Anthony attaches to some of the vehicles that he did, like Wolfman and Bad Company, but has somehow avoided some of the properties that rely on those stalwart english faculty of actors for Harry Potter or Lord of the Rings. He’s joined the superhero movement with Thor, but I for one felt he would be like the male Judy Dench and be popping up in significant roles and get a nomination for 15 minutes of work every three years or so.

  16. Eric says:

    I thought Zorro was good and although it’s bloated I like a lot about Meet Joe Black. They were in the same year, so I figured it was safe to make 1998 the cutoff point; everything after that I feel comfortable shitting upon.

    In fact, his first movie after my cutoff point, Instinct, appears to be his first serious Lecter riff, which is at least half of his output for the last decade. If you have Hopkins playing the elusive and troubled genius, he’s probably in it for the paycheck.

  17. Monco says:

    I think The Tree of Life trailer is stunning. Also really like the Rango spots.

    And I know I’m really late to this conversation but just got home fro seeing Black Swan. Wow is all I can say. It’s the obsessive, crazy, twisted work of art I have been waiting for aronofsky to make since Requiem for a Dream.

  18. LexG says:

    Are Kirsten Dunst’s tits worth driving to fucking Encino for?

    I can’t believe how quickly the second-tier “Oscar” flicks (Philip Morris, Rabbit Hole, Casino Jack, All Good Things, The Tempest, all of which I wanted to see) got relegated in LA to the two far-off Laemmles (Encino, Pasadena) out in the burbs.

    It’s like, I wanted to see the movies, but those places are like seeing a movie with the cast of COCOON.

  19. IOv3 says:

    Lex, use the google because thanks to Academy screeners. The scene is online already and I must say, that getting off the drugs make her a much better looking lady.

  20. LexG says:

    IO, I was kinda being crass/flippant, since I actually want to see the movie more than the nudity, but…

    I DO find it funny that they send out SCREENERS to what they assume are INDUSTRY PROFESSIONALS, serious artists, esteemed critics, and progressive forward-minded craftsman and voices of import in the movie industry…

    …And somebody’s still uploading nipple shots from an Academy screener onto the Internet.

    Trying to imagine it being like 1993 and some world-renowned actor or producer making Schindler’s List screengrabs with links like “Look at those tits!” and a bunch of stills of Embeth Davitz.

  21. IOv3 says:

    Lex, sorry for being a bit honest to a silly response, and you are so freaking true. These people get screeners and have to put the Black Swan scene online, Dunst nude scene, and I am sure the Blue Valentine scene will be up soon as well. That’s the 21st century for you!

  22. Joe Leydon says:

    Getting ready to ring in the new year with the Marx Brothers on Turner Classic Movies, and Dick Clark on ABC. Happy New Year to one and all.

  23. sanj says:

    I’d like to see more DP/30’s outside or in the sunlight
    a lot of the time actors are stuck in a hotel room with like 10 security guards outside ..

    i’ve always wondered what the rest of the day for an actor
    is like after they do a dp/30 they hang out at walmart they eat at mcdonalds they hop on a private jet to go back to acting
    DP never really asks too many personal questions to actors – and the late night talk show hosts do ..

    are there actors that hate dping a dp/30 and are forced too by the movie studio ? are there actors that hate some talk show hosts but are forced by the movie studio ?

  24. Joshua says:

    “Has there ever been another actor whose career took such a sudden drastic turn from quality to crap?”

    People seem to forget that Hopkins was doing a lot of crap before Silence of the Lambs. Check him out in the 1985 mini-series Hollywood Wives, opposite Suzanne Somers:

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin