The Hot Blog Archive for August, 2005

The Next "Next New Thing"

While you are done with your Sprinkles cupcake, take a walk around the corner (you need it) to HannSpree, the giant new near-empty storefront on Beverly Drive and get a whiff of the future.
These guys are a little off the mark, but very close to the next big thing in home computing and decorating… theme monitors. They still produce primarily regular televisions, which I don’t see catching on beyond the bedrooms of very wealthy children and kitchens. The TVs are rather small by today’s standards and I doubt that many people want a 52″ baseball TV in their living room.
But as they realize that the market for themed monitors is quite real and that a couple of hundred-dollar premium for a really cool monitor is very viable, their business should take off.
Take a look

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The Festival Blog Starts Its Life

First review… wish it was a better movie…

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Uh….

A Reuters/Holywood Reporter headline says, “Oteri switching teams for ‘Southland Tales’.
With due respect to a talented woman, shouldn’t the headline be “Oteri works!” or “The Rock and Seann William Scott Reunite” or even “We Really Have Nothing Else To Write… Sorry.”

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Okay, Creative Ones…

Looking for the best 25 word take on Paul Haggis’ version of James Bond?

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About Katie's Boys…

If you’re interested, my Hot Button today mentioned: “Four Brothers, I am amazed to say, is a good, old fashioned time at the movies. It is so clearly a The Sons of Katie Elder rip-off, coming out of the studio that owns Katie Elder, that it is surprising not to see any credit to the original, though the studio had it slated as a remake as late as last November. I don’t know what the issue is, but my guess is that it has something to do with the very, very difficult and demanding estate of John Wayne, which may well have remake rights that allow the Waynes to vet production choices. Regardless, John Singleton and the youthful credited writers – David Elliot and Paul Lovett – did a nice job of maintaining the spirit of the original while adapting the whole notion to the modern era.”
That lead to a reader e-mail that pointed out the writers claiming “they’d never seen Elder until after the movie was done” in a Creative Screenwriting podcast interview.
But meanwhile, ln a “New Paramount” story in Variety last November 7, this appeared: “The rest of 2005 includes remakes of “Bad News Bears,” “Last Holiday” and “The Sons of Katie Elder”; and TV-based projects “Aeon Flux” and “The Honeymooners.”"
So…

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What Deadwood Is to Cursing

Rome is to graphic sex… endless, graphic nudity and sex.
Remember when Polly Walker was just sexy? Now we’ll all be expecting her and her 40something implants to have sex with a live animal by episode 3.
How can she not? Her first appearance in the show is fully front, mid-fornication, followed by a bad, followed by being covering in animal blood in a see through frock… oy yoy yoy yoy yoy…
I can’t decide if this show is actually good… but man, it is the raunchiest thing I’ve seen on TV for a while.

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Great V-sar's Ghost!

James Purefoy, the guy playing Marc Antony in HBO’s new show, Rome, is the guy who ended up being let go from the role of V, replaced by Hugo Weaving, in V for Vendetta.

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Sunday Box Office Analysis

ZZZzzzzzzzzzzzz……

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Early Box Office Analysis – 8/27

The Brothers Grimm, which dumped its pretense of being a Terry Gilliam movie (except for people who read newspapers

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Here's An Idea…

… inspired by Stella’s Boy…
What if there was a THX for theater service?
Remember, THX wasn’t a specific hardware package, but a standard bearer.
What if a theater offered PMS – Premium Movie Service… ushers that ushered and threw people out… a 2 minute guarantee at the concessions stand… info about the commercial schedule so you could see what you like or skip it if you like

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It's Hot…

Sorry to leave you guys to your own devices…

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The Rest Of The Story, 2005…

The lost portion of The Scarlett Johansson 911 Transcript follows:
“I’m Scarlett Johansson, an actor… no, The Island was not my fault… do you know how much press I got for fondling Benecio del Toro in an elevator and they couldn’t open that movie… yes… no, just fondling… he had a sore… exactly! if I’m not a big enough star to open The Island, why are these paparazzi following me to Disneyland… okay, but only if you send the police now… ‘What am I, Scarlett Johnasson, doing after personally shutting down Steven Spielberg’s studio? I’m going to Disneyland!’… thanks… are they on the way?… yeah, I got special passes from Jeffrey… yes, they’re real… are you still recording this?”

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Fear & Loathing In The Critics Chair

It’s funny (Not really.) When I saw that Stephen Hunter of The Washington Post was writing on

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My First Toronto List

Here

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Where Have You Gone, Jack Valenti?

If the endless droning about

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The Hot Blog

Quote Unquotesee all »

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire