The Hot Blog Archive for July, 2008

Bat Haiku

You know, I love it when a commenter has a stroke of genius… or in some cases, just a stroke.
But seriously, folks…
The idea of the BAT HAIKU came up and, heck, why not give it a try?
Nolan up to Bat
So much more than a comic
But a comic still

The Joker is cool
Makes The Batman just a mouse
Dent’s teeth feel the breeze

Your turn…
And yes, there will be a prize. (We’ll figure out what it is in time.)

59 Comments »

More Great News For Paramount

They landed Brett Ratner… WOOO HOOO!
Take a breath….
Ratner has good taste. He can make $100 million look like the most beautiful $75 million you’ve ever seen on screen.
So what is Paramount getting itself into?
Well, the relationship seems mostly about Beverly Hills Cop IV, being written by the geniuses who “wrote” Wanted… I seem to remember a few words somewhere in that crapfest… and soon to be directed by Ratner, who will surely have the very hottest ethnic women in Hollywood in the backround of every scene of Axel Foley walking around Beverly Hills.
The biggest question about the “first look deal” is whether Ratner can deliver his first “tentpole” that’s not a 3rd X-Men or a Rush Hour film to gross over $210 milion worldwide.
Even though the last Beverly Hills Cop was 14 years ago – have you notcied that Par is now acting like MGM and teh Walking TE Corpse Of New Line, desperately trying to revive any former hit? – it is a sequel. So there is no point in comparing it to Ratner’s originals, none of which has grossed as much as $125m worldwide. But Red Dragon, at $209m ww, seems fair to worry about. And the fact that Rush Hour 3 grossed less than either of its predesessors domestically and about the same as the first film worldwide (27% off of RH2) is also a cause of concern.
A decade into his career as a director, there is no indication that Ratner is a better bet on a project than, say, Dennis Dugan or Brian Robbins. Goiod luck all around.
1 – X – Men: The Last Stand – $459.3 – 2006
2 – Rush Hour 2 – $347.3 – 2001
3 – Rush Hour 3 – $255.0 – 2007
4 – Rush Hour – $244.4 – 1998
5 – Red Dragon – $209.2 – 2002
6 – The Family Man – $124.7 – 2000
7 – After the Sunset – $61.3 – 2004
8 – Money Talks – $48.4 – 1997

353 Comments »

Selling A Paramount Turnaround

The Variety headline reads, “Paramount films fuel Viacom – (sub-head) Revenues up 21% to $3.9 billion last quarter
How does one take the trade seriously when they don’t offer the real facts, but the spin as a headline?
The real deal from the Paramount/Viacom press release….
Was Paramount the cause of the increase in overall revenues (not net, which is down)? Philippe Dauman leads with something else – “The advantages of our growing multiple revenue streams were evident in the quarter, as we delivered double-digit growth in both our affiliate and ancillary revenues, led by the top-selling Rock Band music
video game.”
Then, he gets into the movies.
And what are the actual numbers of the movie side?
In terms of box office, the studio had about $863 million in domestic gross box office dollars compared to $536m in the same quarter last year

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Matson Is All Thumbs

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The cartoon…

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Hot Button – Circles Of Lies

Oy… this is what I get for watching The View.
The ladies spent 5 minutes discussing how the Western Wall prayer that was taken out of the wall and published in Israel was, according to the paper that published the presumably private document, Ma’ariv, pre-approved for publication by Obama even before the note was stuck in the wall. The claim from an unnamed Ma’ariv editor was legitimized by publication in The Jerusalem Post as part of a story about a potential legal probe and boycott of Ma’ariv for publishing the note.
The Wall Street Journal pushed the story further by publishing a series of web attacks on Obama without bothering to do what they do best… report news.
“Maariv’s response: “Obama’s note was published in Maariv and other international publications following his authorization to make the content of the note public. Obama submitted a copy of the note to media outlets when he left his hotel in Jerusalem. Moreover, since he is not Jewish, there is no violation of privacy as there would be for a Jewish person who places a note in the wall.”
Problem is… the story was a lie.

The rest…

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The Swing Vote Campaign That You Should Have Seen



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BYOEarthquake

If an earthquake hits Hollywood in late July, does anyone actually feel it?

27 Comments »

Hot Button – Batting Around Titanic Numbers

Is it anything less than a dereliction of duty, whether it be Horn’s choice or his editors’ choice, to not even mention the worldwide box office success of Titanic, which really is what makes the box office landmark the equal of what

80 Comments »

El Mummy Tres Sucks And Sucks Hard

Just when you thought it might be safe to go back to a Rob Cohen movie

104 Comments »

P-n-P Blog Factory

I was planning on holding an update on The Pete-n-Pat Blog Show for a while. After all, we

7 Comments »

BYOB – Manic Monday

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Hot Button Review – Tropic Thunder

Tropic Thunder strikes me as the ultimate example of Stars Gone Wild. Let

36 Comments »

W


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Sunday Estimates by Klady

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33 Comments »

Worth 1000's Renaissance Star Wars Contest

jabba.jpg
Jabba the VIII
Other entries…

5 Comments »

The Hot Blog

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch