Aye yo, it be Talk Like a Pirate Day on Rrrotten Tomatoes! We have plundered the internet for pictures of our fellow piratanical hearties for yer sole entertainment! Let’s crack open the barrel and see what crawls out of the bung hole, savvy?
Finnish director Renny Harlin has one of the most schizophrenic CVs in movie-dom. He’s directed some of the most beloved action films of the last 20 years, including Die Hard 2, Deep Blue Sea, The Long Kiss Goodnight and, of course, Cliffhanger (sample dialogue: “I must say, you’re a real piece of work.” “I must say, you’re a real piece of shit.”). His latest, the faintly-ridiculous but always-enjoyable 12 Rounds continues this tradition.
He’s also, however, responsible for two of the most reviled movies of recent times — for notorious flop Cutthroat Island and for taking a hatchet to Paul Schrader‘s The Exorcist: The Beginning. For someone with such a varied back catalogue, we had no idea what his five favourite movies would be.
“I would say that one of the most profound memories was when my mother – who was film fanatic and loved thrillers – took me to see Rosemary’s Baby when I was nine years old. The film had a huge impact on me and, of course, scared the shit out me! I certainly wouldn’t take my 10-year-old to see Rosemary’s Baby.
“It is a masterpiece in terms of the way it uses the language of movies and it directed me towards Hitchcock and that kind of visual storytelling, and thrillers in general – or maybe more psychological thrillers. So that was my first and most memorable movie. It was the psychological fear and oddness, the oddness of the characters; I remember I didn’t even understand it all when I first saw it. Visually there were so many things that I hadn’t seen before that have stayed with me.
” I don’t know what it was about that movie that was just incredible. It was something about the storytelling, the characters, and the pace of the movie, the atmosphere of it and the tragic ending that absolutely blew my mind. It made me realise movies could tell stories in a different way. That was the day – when I was 11 years old – when I decided to get involved in movies. It was when I said to myself, “I want to be a director.” It was so powerful to me. It’s really worth seeing; it’s an amazing bleak, beautiful, tragic movie.”
“It’s a typical choice maybe. I’m a huge Coppola fan – I’ve seen it many times in many different versions and formats and that movie, to me, is just fantastic storytelling, interesting characters, maybe the best war film I’ve ever seen. You are transported into his incredibly exotic world and it tells the story of something that is based on reality but the director kind of creates his own reality. He constructs this horrible place – his own interpretation of hell and he that makes me believe in it. It’s a movie that I can always watch again and never get tired of, and it always feel like I’m in the presence of a genius magician. I think I prefer the theatrical cut of the movie. The Redux, with the scene with all the French colonialist people, I didn’t feel added much.”
“Another movie that is hugely influential to me and I never get tired of watching it. The cinemascope photography is unbelievable, evolutionary and fantastic. The performances, the production design and the pacing – it’s kind of slow but it draws you into it and it makes you wish there could still be movies like that nowadays. I mean most movies these days are made for teenagers. It’s almost as if people’s brains work differently these days. Maybe its commercials and music videos and videogames and you just want more stimuli at a faster pace. Filmmakers seem to be afraid to trust the audience more. I don’t mean that movies should be slow and boring, but if you have a good enough script you should be able to use the power of the image to tell a story. It’s like if you look at Pixar movies like Wall-E, actually I do think they have a slower pace, there’s such richness in every frame.”
“Despite the kind of movies I make, I love small, little movies. I love foreign films in general, I love to see something that really moves me emotionally, and that moves me to tears. Maybe Cinema Paradiso is a little bit of a cliché, but I’m sure every cinema lover lists it as their favourite movie. There’s something so beautiful about it, I love the milieu of the little town and this boy’s story and what the whole thing says about how lives go and about our dreams and memories. When he grows up and goes to the movie theatre and sees all the bits that the priest cut out and it reminds him of his childhood… Cinema doesn’t get more beautiful. The whole film is about the incredible nostalgia of movies in general.”
It might not come as a shock to hear that director Gore Verbinski probably wants to take a break from the "Pirates" some time soon. Word is he might be collaborating with "Bloom County" creator Berkeley Breathed on a CGI flick.
One source indicates that Disney is almost assuredly going forward with "Pirates 4," but the man usually at the helm might be off adapting Mr. Breathed’s "Flawed Dogs: The Year End Leftovers at the Piddleton "Last Chance" Dog Pound" for Disney. This one would be a CGI sort of feature.
Further word states that BB’s "Mars Needs Moms" will also be made into a movie — only this one might be directed by Robert Zemeckis!
Hmm, I need to pick some of these books up, I think. I still think "Bloom County" was the funniest comic strip ever created. (Well, and "The Far Side." Oh, and "Calvin and Hobbes," obviously.)
But the big question is … who’ll they get to direct "Pirates 4"? Disney should get someone who still needs to make a good pirate movie, like Renny Harlin or Roman Polanski. (They directed "Cutthroat Island" and "Pirates," respectively, and there’s a double feature that’ll give you a fresh respect for the "POTC" series.)
Source: Jim Hill Media
After welcoming in four new wide releases per week for seven straight weekends, the North American box office slows it down a bit on Friday with only one saturation release and a pair of moderate national bows.
Sony courts the teen horror crowd with its supernatural thriller "The Covenant." Meanwhile, Focus targets mature adults with the crime thriller "Hollywoodland" and The Weinstein Co. goes after the action audience with the martial arts pic "The Protector." With a slate of Labor Day weekend pics coming off of their lukewarm holiday performances, the overall marketplace is sure to be sluggish and could slump to its lowest point of the year.
Four prep school dudes learn of their ancestral powers and stir up some evil in the new teen chiller "The Covenant." Sort of a "Lost Boys" for today’s youth, the PG-13 film will target the horror audience as well as the back-to-school date crowd. Renny Harlin, who has seen highs with "Die Hard 2" and lows with "Cutthroat Island," directs. "Covenant" should play primarily to teens and young adults and Sony has a strong track record when it comes to attracting that crowd with these kinds of films. Last fall, the studio scored a big hit with "The Exorcism of Emily Rose" which bowed this very weekend with $30.1M, but saw more modest results with "The Fog" which opened in October with $11.8M. Each one still hit the top of the charts. The marketing push on "Covenant" has not been too fierce so a debut closer to "Fog’s" is likely. Competition for teens is not very strong at the moment so many should pick this for their weekend moviegoing choice. Attacking 2,681 theaters, "The Covenant" could scare up around $11M in ticket sales this weekend.
Academy Award winner Adrien Brody plays a not-so-super sleuth in the 1950s who investigates the suicide death of Superman actor George Reeves in the new crime thriller "Hollywoodland." The R-rated Focus release also stars Diane Lane, Ben Affleck, and Bob Hoskins. After last year’s dominance at the Oscars by numerous indie flicks, "Hollywoodland" tries to get the awards season started early by getting a headstart over some of the fall’s other promising non-studio films. The casting of the "Gigli" star as the Man of Steel, however, might diminish its chances a bit as many industry voters won’t be able to help but snicker when the daredevil himself comes on screen. Mature adults will be the target audience and women might outnumber the guys by a small margin. The film’s subject matter will certainly be intriguing for film industry folks, but it will be a tougher sell to mainstream moviegoers. "Hollywoodland" will have to reach its audience in a hurry as parent company Universal will target the exact same crowd with its ensemble-driven period crime mystery "The Black Dahlia" a week later. Debuting in moderate national release in 1,548 theaters, "Hollywoodland" might capture about $8M this weekend.
The "Quentin Tarantino Presents" marketing technique is back once again with the Thai martial arts pic "The Protector" starring Tony Jaa. The R-rated film from The Weinstein Co. finds the acrobatic action star seeking revenge on those who wronged his people. Jaa’s "Ong Bak" made a moderate splash at the North American box office last year when it opened to $1.3M from 387 theaters for a mild $3,449 average on its way to a $4.6M domestic take. A year and a half later, more American action fans know of Jaa, though he’s still far from a sizable draw. Two years ago, the Weinsteins saw stellar results when using the "Pulp Fiction" director’s
name in the marketing of Jet Li‘s "Hero" which ended up topping the box office for two straight weeks on its way to a $53.6M gross. Lionsgate also used the QT tactic to drive in business for its horror pic "Hostel" last January which also bowed in the top spot. "Protector" will appeal mostly to young men who love martial arts and crossover to other groups is unlikely. The second weekend of "Crank" will draw upon many of the same folks so competition will be tough. Fighting its way into around 1,400 theaters, "The Protector" might kick up about $6M this weekend.
More independent films open in New York on Friday hoping to expand further around the country in coming weeks. Polychrome Pictures debuts the Asian American pic "Red Doors" in a pair of Manhattan locations. The dysfunctional family pic won the top prize at last year’s Tribeca Film Festival. Film Philos goes into one solo house with the coffee cart vendor drama "Man Push Cart" which world premiered at Sundance last winter.
"Invincible‘s" undefeated season should come to an end this weekend as the Disney sports drama enters its third outing. A 40% decline would see the Mark Wahlberg pic gross around $7M pushing the 17-day cume to $47M. After a second place bow over the weekend, the Lionsgate actioner "Crank" pumped itself up to the top spot on Tuesday with solid midweek business. Jason Statham saw his "Transporter 2" fall 55% a year ago when it came off of its Labor Day debut. "Crank" could see a slightly smaller drop. A 50% tumble would give the poison pic roughly $5M for the sophomore frame and a ten-day sum of $20M.
Nicolas Cage‘s "The Wicker Man" did not make too much of a dent at the box office last weekend. A 45% drop to around $5M seems likely giving Warner Bros. only $19M in ten days. Indie sensation "Little Miss Sunshine" should step back a bit after a strong Labor Day frame and could slide 30% to $5M as well. That would lift the cume for the year’s most recommended film to $42M making it the fifth biggest hit in company history for Fox Searchlight after "Sideways" ($71.5M), "The Full Monty" ($45.9M), "28 Days Later" ($45.1M), and "Napoleon Dynamite" ($44.5M). In another week, it will vault to number two for the Fox subsidiary.
LAST YEAR: Sony scored a huge surprise winner with the suspense thriller "The Exorcism of Emily Rose" which bowed bigger than expected with a hefty $30.1M grossing more than the next five films combined. The fright flick went on to scare up a sturdy $75.1M. Comedy sensation "The 40-Year-Old Virgin" followed in second with $7.7M in its fourth date while "Transporter 2" fell from first to third with $7.4M. The political drama "The Constant Gardener" and the airline thriller "Red Eye" rounded out the top five with $4.7M and $4.5M, respectively. Samuel L. Jackson debuted poorly in sixth with his action-comedy "The Man" which took in a weak $4.1M on its way to just $8.3M for New Line.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
The plot details are still under wraps, but we know that Tom Cruise and Ving Rhames are back in action with a supporting cast that includes Laurence Fishburne, Billy Crudup, Simon Pegg, and Jonathan Rhys Meyers, and Philip Seymour Hoffman as the bad guy; Keri Russell, Michelle Monaghan and Maggie Q add estrogen to the adrenaline-pumper.
Click on the images for more photos.
"Mission: Impossible 3" hits theaters May 5.
William Hurt, whose role as a crime boss in David Cronenberg‘s "A History of Violence" nabbed him an Oscar nomination, joins the cast of MGM’s psychological thriller "Mr. Brooks" as the evil alter ego of Kevin Costner‘s character.
Bruce A. Evans will direct from a script he co-wrote with Raynold Gideon; Evans and Gideon have been a screenwriting team since 1979’s "A Man, A Woman and a Bank" and have also co-written "Starman," "Stand By Me," "Kuffs" (Evans’ other directing credit), "Cutthroat Island," and "Jungle 2 Jungle."
From the Hollywood Reporter: "Costner will play Brooks, a tortured man who tries to be disciplined and remain in control. Hurt will play Costner’s alter ego, the evil part of Brooks that loves murder and mayhem.
Evans wrote the script with Raynold Gideon. Costner is producing via his Tig Prods. with Jim Wilson and Gideon.
An April shoot in Louisiana is being eyed."
Thanks to the unexpected mid-season success of the Fox TV series "House," actor Hugh Laurie has been forced to give up the plum role of Perry White in Bryan Singer‘s "Superman Returns." Stepping into the recently vacated role is Mr. Frank Langella, a fine character actor who’s been seen in movies like "Cutthroat Island" and "Masters of the Universe," but is probably best known for playing the Count in John Badham’s 1979 "Dracula" adaptation.Reuters reports that Mr. Laurie had not yet shot any of his scenes for "Superman Returns."