The Hot Blog Archive for September, 2005

So Little To Say This Week

It’s a funny week when I have endless column ideas and almost nothing for the blog. Perhaps it’s the sudden late heat in L.A.
I can’t speak for The Greatest Game Ever Played, but the rest of this week’s movie release line-up smells like the “before” at a sewage treatment plant.


Best About-Fucking-Time DVD Release

From The NY Press’ “Best Of” Issue
The Cassavetes Collection
Long Island


Hold It Right There!

There are few dealmakers smarter than David Geffen. Even as a man with great taste acting as an impresario over the years, it has been his skill at the negotiating table (and away from it) that has made him a billionaire.
And here, in the Universal deal, we see his skill as a Texas Hold


Asking Again

In the A.O. Scott stuff, these questions never seemed to be answered by people posting. And I find them very interesting. So I ask again, with no tongue in cheek, but with sincere interest in your perspectives…
Tell me, is North Country a conservative tract? Sure, it


Missing The SS Joke With Page Six

For whatever reasons, Page Six decides to take a swipe at Steven Soderbergh


Great Tip From A Reader (RP)

The Sony promos from Nip/Tuck’s premiere – which include a new Dick & Jane trailer and first looks at campaigns for Freedomland and All The King’s Men can be found here.
Click on Kelly Carlson and a Java theater comes up with all the pieces.


Keith Richards Running SAG?

As per a very funny reader….


This just in…

From Tuesday’s USA Today aka “The NYT Assignment Desk”…
Adds director Mark Waters (Mean Girls), “It’s clearly not inspired by the Schiavo case.” He doubts those on either side of the right-to-die issue could co-opt what is essentially a fantasy. “It’s not like there is a political or religious agenda to the movie. Everyone wants her to wake up.”
But just as Million Dollar Baby caused a ruckus over its depiction of assisted suicide, Heaven could raise concern over its Hollywood-ized picture of a young and healthy-looking coma patient. Especially since a life force in the form of Witherspoon’s somewhat vaporous presence clearly hovers outside her prone body.


A.O. Krazy 2

Where Scott goes off the rails is not in trying to come up with a more complex analysis of genre films, but in tying their existance and tone to some sort of intent.
As pointed out by others here, the subtext of what is perceived as audience friendly is a discussion. The idea that Just Like Heaven, which is not only completely derivative of films from every decade of the history of narrative cinema, but which was launched before Bush was re-elected, is wacked.
Additionally, adding a context on intent to Emily Rose, which was never intended to be anything but a thriller cheapy, is way off base.
Even if you want to play this game, how about some balance? The top movie of the summer, Star Wars, is on its face anti-empire. On the flip side, it could be said that it is pro-Iraq, as the next films are all about freeing the people from The Empire, which is what Bush-ites would say Iraq is all about. That is the beginning of a long, complex, and unwinnable conversation.
It is insane to sit there at try to deconstruct some screenwriter


Early Weekend Analysis – 9/24

Emily Rose kicked the ass of The Little Girl Who Lives Down The Lane.
Go figure.
It seems that Red Eye brought Flightplan down to its level, instead of Flightplan being the Big to Red Eye


A.O. Krazy

Here is A.O. Scott’s piece on why we should be reading political subtext into Just Like Heaven and The Exorcism of Emily Rose.
My read? Put down the pipe, Tony. I know that every molecule of our body could be, like, an entire universe and we could just be one atom in the body of a giant… but dude, you need to mellow that harsh.


Finally, A Full Movie Weekend

What are you going to see?
A History of Violence
Daltry Calhoun
Dear Wendy
In Her Shoes
Oliver Twist
Roll Bounce
Tim Burton’s The Corpse Bride


Coppola is Finally Getting Back to Work

But do you care? Or is it just me?
From Variety
Francis Ford Coppola will return to directing after an eight-year hiatus with a self-financed, low-budget pic to lense in Bucharest.
The bigscreen adaptation of “Youth Without Youth” is based on the novella by Romanian author and intellectual Mircea Eliade. Coppola penned the screenplay and is producing through his American Zoetrope banner. Fred Roos and Anahid Nazarian exec produce.
Tim Roth, Alexandra Maria Lara, Bruno Ganz and Marcel Iures will star in the pic, skedded to begin production Oct. 3.
Story centers on a professor whose life changes after a cataclysmic incident during the dark years before WWII. Becoming a fugitive, he is pursued through far-flung locations including Romania, Switzerland, Malta and India.


Oscar Chat

is on the awards blog.

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“At a recent screening of Creed, as the familiar fanfare of Bill Conti’s beloved Rocky score signaled the start of the final round of the big fight, the audience burst into spontaneous applause. This was no sneak-preview crowd, primed with free admission and popcorn, but a room full of critics and journalists armored in professional skepticism. A cynic might say that the cheering was a Pavlovian reflex set off by a piece of commercial entertainment in the hands of a skilled, manipulative director. This cynic, however, was too busy choking up and clapping to form the thought.”
A. O. Scott On Creed

The physical object is so banalized nowadays, you have to bring something else. And the audience is completely ready to get that, and want that, voilà. It’s difficult because it’s a lot of work and there are a lot of requirements, but you have to try to be more and more unique; if not, you’re just releasing a DVD in the old way, and even if a title might interest some cinephiles, it won’t be enough regarding the fact that they could see on S-VOD for ten bucks hundreds of movies. So how do you bring this audience who’s continuing following you because they have the same feeling of cinephilia to acquire what you’re releasing ? And even though we can see of course that the 3000-limited-edition of Body Double is to be able to go out-of-print very quickly, at the same time it will increase interest on the title itself.
~ Carlotta Films’ Vincent Paul-Boncour