Movie remakes tend to get an automatic bad rap, but this time we’re putting some numbers behind it. Take the original’s Tomatometer rating, subtract by the remake’s number, and voila: the 24 worst movie remakes by Tomatometer!
It may not have been quite the box-office phenomenon that its predecessors were — and critics may have disliked it enough to keep it down at 20 percent on the Tomatometer — but that didn’t stop Rush Hour 3 from emerging as the top DVD rental of 2007.
The third Rush Hour racked up over $70 million in rental revenue, roughly half of what it took in at the box office, and besting another third installment, The Bourne Ultimatum. Count down the rest of last year’s DVD-rental top 25 below!
1. $71.2 Rush Hour 3 ($140.1M box office)
2. $69.7 The Bourne Ultimatum ($227.5 box office)
3. $66.4 The Kingdom ($47.5 box office)
4. $64.3 Superbad ($121.5 box office)
5. $57.2 Live Free or Die Hard ($134.5 box office)
6. $56.7 The Simpsons Movie ($183.1 box office)
7. $55.3 Night at the Museum ($250.86 box office)
8. $54.1 Harry Potter and the Order of the Phoenix ($292 box office)
9. $51.8 Shrek the Third ($322.7 box office)
10. $51.2 The Heartbreak Kid ($36.8 box office)
11. $50.6 The Pursuit of Happyness ($163.57 box office)
12. $49.0 The Departed ($132.38 box office)
13. $47.5 Borat ($128.51 box office)
14. $47.5 Transformers ($319.3 box office)
15. $45.0 Blood Diamond ($57.38 box office)
16. $43.8 Spider-Man 3 ($336.5 box office)
17. $43.7 300 ($210.6 box office)
18. $43.0 I Now Pronounce You Chuck and Larry ($120 box office)
19. $42.9 Casino Royale ($167.45 box office)
20. $42.7 Disturbia ($80.21 box office)
21. $42.6 The Holiday ($63.22 box office)
22. $41.8 Knocked Up ($148.8 box office)
23. $40.8 Deja Vu ($64.04 box office)
24. $40.5 Fantastic Four: Rise of the Silver Surfer ($131.9 box office)
25. $40.5 The Good Shepherd ($59.95 box office)
Source: End of Boredom
In an age of fast-rising Hollywood production costs, the young actresses who strive to keep movie budgets down — specifically in the wardrobe department — deserve to be saluted.
To that end, noted film critic Mr. Skin has unveiled his Top 20 Nude Scenes of 2007. Calling the last twelve months “A surprisingly strong year for big-screen nudity…among this decade’s very breast,” the renowned nakedologist has compiled the following list:
1. Marisa Tomei – Before the Devil Knows You’re Dead
2. Keeley Hazell – Cashback
3. Natalie Portman – Hotel Chevalier
4. Christina Ricci – Black Snake Moan
5. Sienna Miller – Factory Girl
6. Roselyn Sanchez – Yellow
7. Malin Akerman – The Heartbreak Kid
8. Eva Mendes – We Own the Night
9. Lena Headey – 300
10. Stormy Daniels and Nautica Thorne – Knocked Up
11. Alexa Davalos – Feast of Love
12. Chelan Simmons – Good Luck Chuck
13. Wei Tang – Lust, Caution
14. Ashley Judd – Bug
15. Olivia Wilde – Alpha Dog
16. Ana Claudia Talancon – Alone With Her
17. Danielle Harris – Halloween
18. Heather Matarazzo – Hostel: Part II
19. Amber Valletta – The Last Time
20. Lucy Liu – Blood Hunter
Adjust your Netflix queues accordingly.
Source: PR Newswire
The Three Stooges was supposed to be the
Brothers‘ next movie after
The Heartbreak Kid.
With brand new actors, they planned to write and direct four slapstick vignettes
in the vein of the old Stooges shorts. Sounds like a much better idea
than Stuck on You,
but the studio would rather have them direct another raucous comedy.
"It’s one of those things, it’s just been tricky," said
Peter Farrelly. "The studios all feel like women won’t go see it. I don’t agree.
Dumb and Dumber
wasn’t a chick flick but eventually women got in there."
Studios are also arguing foreign sales as an issue. "Also,
they don’t think it’s going to be big overseas because no one knows of it but
again, no one knew about Dumb and Dumber. It’s a hard one but we are
going to do it eventually."
Five new films push their way into nationwide release on Friday hoping to challenge two-time champ The Rock making for what should be a free-for-all at the North American box office with many different studios having a realistic shot at claiming the number one spot. Among the top contenders are Sony’s crime thriller We Own the Night, the Lionsgate comedy Why Did I Get Married?, and the George Clooney vehicle Michael Clayton which expands nationally after its scorching debut in limited release. Adding to the mix are the costume drama Elizabeth: The Golden Age and the baseball tale The Final Season. The box office race should be a tight one with as many as four films likely to reach the low double digit millions.
Oscar nominated actors Mark Wahlberg and Joaquin Phoenix face off as brothers on different sides of the law in the new action thriller We Own the Night. The R-rated pic co-stars Robert Duvall and Eva Mendes and will target an adult audience with a slightly male skew. The former Marky Mark proved his box office pull last spring as the only major star in Shooter which bowed to $14.5M and a $5,176 average by targeting the same audience. Things will be more difficult this time because of the intense competition for mature audiences especially from Michael Clayton. But Night‘s biggest advantage over Michael is that it has two commercial stars instead of just one. The combo should lead to a slim edge at the cash registers.
Despite its awkward title, Night has been pushing itself as an action-packed thriller with faces people love to watch. Reviews have been mixed and with such a crowded field, it will be hard to stand out as a must-see option. Starpower should be the main factor here and showdowns between two solid actors are usually popular with ticket buyers. Opening in over 2,000 theaters, We Own the Night could debut to about $12M.
Clayton will test his drawing power since the film has no other box office anchors in it. Co-stars Tom Wilkinson, Tilda Swinton, and Sydney Pollack are well-respected, but they don’t sell tickets. There is plenty of direct competition which is why the film got a head start a week early. Buzz from its red hot platform bow has spread helping to build interest. The crowd will consist of the same people that opened Syriana to $11.7M, The Black Dahlia to $10M, and Zodiac to $13.4M. Night will take away some males and Elizabeth will steal some females so a huge gross will be hard to find. But over the long-term the film could have legs. Expanding into 2,511 locations, Michael Clayton stands as the widest of the new offerings and may capture around $11M over the Friday-to-Sunday period.
Married does not have the promotional value of Black History Month or the help of Presidents Day which Girls had early this year. However, Perry’s new film will not face any direct competitors for its target audience. Girls had to face the second weekend of Eddie Murphy‘s hit comedy Norbit which offered some audience overlap. Plus Married boasts more starpower with Perry back on screen and an added boost will come from Janet Jackson who is always a strong draw at the box office with the target audience every time she makes a rare appearance in a movie. The PG-13 film from Lionsgate is unlike anything else in the marketplace right now and with few buzzworthy films aimed at black moviegoers in recent months, it should successfully connect. Debuting in 2,011 theaters, Why Did I Get Married? might open with roughly $12M this weekend.
The first Elizabeth opened in limited release in November 1998 and rolled through awards season that winter eventually reaching an impressive $30M while never playing in more than 600 theaters. It also bagged seven Oscar nominations including Best Picture. Now the studio is hoping that a built-in audience will want to take another trip to the past. Though the first was an acclaimed picture, no real demand ever surfaced for a sequel. So it will be tough for Golden Age at the box office especially with all the competition. Female-led dramas often struggle in the marketplace since it is often too hard for adult women to drag men with them to the multiplex for these stories. New films from Clooney and Wahlberg offer more cross-gender appeal. Ordering her troops into 2,000 theaters on Friday, Elizabeth: The Golden Age might take home about $8M over the three-day period.
Paramount and DreamWorks were caught by surprise by the lack of strength for the opening of the Ben Stiller comedy The Heartbreak Kid. With nothing to keep it afloat, a 45% decline might be in order especially since adults will be distracted by a wide assortment of other options. That would give the Farrelly brothers a sophomore session of about $7.5M and a cume of only $25.5M after ten days.
LAST YEAR: Sony used the Friday the 13th before Halloween to launch the sequel to one of the most successful horror films in history and captured the number one spot. The Grudge 2 bowed on top with $20.8M accounting for more than half of its $39.1M final. Eventual Oscar champ The Departed slipped to second with $19M easing only 29% for Warner Bros. The Robin Williams political comedy Man of the Year debuted in third with $12.3M before finishing with a disappointing $37.3M for Universal. Rounding out the top five were the Sony toon Open Season with $11.1M and New Line’s fright franchise flick Texas Chainsaw Massacre: The Beginning with $7.5M for a steep 60% plunge. Opening with weak results in sixth was the action pic The Marine with $7.1M on its way to $18.8M for Fox. The religious-themed drama One Night with the King bowed to $4.1M with a good $4,518 average and finished with $13.4M for 8X.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
Ben Stiller‘s new comedy
The Heartbreak Kid stumbled in its opening frame and
forced the overall box office to plunge to the worst October weekend in eight
years. Incumbent family comedy
The Game Plan posted a strong sophomore hold and
retained its position as North America’s most popular film. But two other new
releases did nothing to energize the multiplexes as the top ten films together
grossed what just the top three pictures did a year ago on this same weekend.
The calendar may say October but the dismal box office grosses make it seem like
September never ended.
Surprising industry watchers once again, Disney’s
The Game Plan held onto the
number one spot for a second time grossing an estimated $16.3M for a slim 29%
decline. That gave
The Rock‘s first entry into the world of kid’s movies a solid
$42.8M in only ten days allowing the PG-rated comedy to already surpass the
grosses of his last two films
Gridiron Gang ($38.4M) and
Doom ($28M). All three pics were number one openers. Last weekend, many expected
Game Plan to
debut in second place behind
The Kingdom while this weekend
widely seen as debuting on top. In both cases the quarterback daddy flick
swiped the top spot and with little family competition in the weeks ahead, a
trip to the $100M club could be in the works.
Disney is still benefiting from the fall season’s shocking lack of product for
families. For the third consecutive weekend, seven of the top ten films carried
giving parents few other options for their children. The studio has virtually no
foes to deal with until
Jerry Seinfeld‘s animated pic
Bee Movie hits theaters on
November 2. Game Plan‘s second weekend drop was even smaller than the 40%
decline that the studio’s
Vin Diesel family film
The Pacifier experienced in
March 2005 on its way to a stunning $113.1M tally. The Game Plan now looks
certain to surpass the $90.5M of 2002’s The
Scorpion King to become The
Rock’s highest grossing film in a lead role.
The weekend’s big disappointment came from the Ben Stiller-Farrelly brothers
The Heartbreak Kid which debuted in second place with an
estimated $14M from 3,229 theaters. Averaging a mediocre $4,345 per site, the
R-rated film marked the first reteaming of the actor with the filmmakers since
1998 sleeper smash
There’s Something About Mary which grossed a stunning $176.5M
that year. Heartbreak was universally expected to open at number one
and was thought to have the potential to capture at least $20M in opening
weekend business for DreamWorks and Paramount. The budget was more than $60M,
according to the studios.
For Stiller, Heartbreak‘s opening was half the size of the bows of his other
recent comedies like
Night at the Museum ($30.4M),
Starsky and Hutch
($28.1M), and Along Came Polly ($27.7M). Those were PG or PG-13 films but the
comedian was still expected to draw a large crowd this weekend. However
for the Farrelly brothers, the performance was better than the $12.4M of their
Pitch in 2005 and the $9.4M of 2003’s
on You. Reviews were
mostly negative which is par for the course with these types of comedies.
The Heartbreak Kid put Stiller’s box office power to the test and the results
were discouraging. Most of the comedian’s hits feature other big stars to help
a paying audience. This time Stiller was the only major name and audiences did
not bite. In fact the launch was very similar to that of rival R-rated romantic
Good Luck Chuck which debuted to $13.7M and a better $5,227 average just two
weeks ago. That film offered some star wattage from both genders with
Dane Cook and
Universal’s Middle East drama
dropped 46% in its second weekend to an estimated $9.3M and placed third. The
Jamie Foxx pic has taken in
$31.4M in ten days and should find its way to $50-55M. Sony’s action-horror
Resident Evil: Extinction fell 47% to an estimated $4.3M and pushed its
17-day cume to $43.5M.
Failing to find an audience on opening weekend was the fantasy adventure film
The Seeker: The Dark is Rising
which bowed to an estimated $3.7M from a
very wide 3,141 theaters for a dismal $1,186 average. The PG-rated pic from the
new venture between Fox and Walden Media targeted young boys but got
nowhere at the box office. Seeker‘s debut was even worse than the $5M launch of
Dragon Wars from just two weeks ago which went after the same audience.
But thanks to a sluggish marketplace, Seeker‘s weak opening still landed the
film in the top five even though its nearly $40M budget will take much time to
The Lionsgate comedy
Good Luck Chuck grossed an estimated $3.5M, off 44%, for a
$29.1M sum. The dance drama
Feel the Noise delivered a seventh place
debut with an estimated $3.4M from just 1,015 theaters. Averaging a mild $3,350
per site, the PG-13 film played to urban teens and came from the new
Sony/BMG film division.
The weekend’s most notable fireworks came in limited release as the increasingly
crowded arthouse scene saw some red hot numbers from awards hopefuls.
George Clooney led the way with his legal thriller
Michael Clayton which bowed
in only 15 theaters but grossed an estimated $704,000 for an astounding
$46,933 average. Powered by strong reviews and starpower from the Oscar-winning
actor, the R-rated film is hoping to keep the momentum going when it
expands nationally on Friday into more than 2,400 theaters.
A pair of acclaimed filmmakers enjoyed encouraging sophomore expansions with
their latest efforts and delivered the next best averages.
Wes Anderson‘s comedy
Limited widened from two New York houses to 19 locations in seven
markets and grossed an estimated $553,000 for a powerful $29,099
average. Fox Searchlight will continue to open in more cities over the next two
weekends before going nationwide into more than 800 playdates at the end of the
month. Ang Lee‘s NC-17 romantic thriller
Lust, Caution also held up very well as
it entered new cities. The Focus release went from a solo Manhattan house to
17 venues and collected an estimated $369,000 for a potent $21,696 average.
Totals stand at $$477,000 for Lust and $781,000 for Darjeeling.
Also expanding and still generating good averages in their third frames were
Into the Wild and
The Assassination of Jesse James by the Coward Robert Ford. Paramount Vantage widened
Wild from 33 to 135 houses and
grossed an estimated $1.3M for an impressive $9,593 average. Warner
Bros. made a leap from five to 61 locations with Jesse and made off with an
estimated $408,000 for a respectable $6,689 average. Cumes are $2.5M and
$746,000 respectively and each film will continue to add more cities and
theaters in the weeks ahead.
Not faring well in its national expansion was the drama The
Jane Austen Book Club which grossed an estimated $1.5M from 1,232 sites for a weak $1,247
average. Last weekend, the Sony Classics release averaged $4,700 from only 41
venues. Total sits at $2M.
Sony’s Beatles-themed musical feature
Universe continued to have
great legs easing a mere 8% in its fourth outing to an estimated $1.9M. With $8M
in the bank from limited release, the Julie Taymor-directed pic goes wide on
Friday into more than 700 sites. Universe joins the music-themed films
Once as movies with some of the best legs at the box office over the last
several months. But it was a sad tune for Universal’s teen comedy
which tumbled 49% to an estimated $1.3M for a weak total of just $10.2M. Look
for a poor $13M finish.
The top ten films grossed a disappointing estimate of $61.9M which was down a
substantial 37% from last year when
Departed debuted in first place with $26.9M; and off 23% from 2005 when
Wallace & Gromit: The Curse of the Were-Rabbit opened in the top spot with
Author: Gitesh Pandya, www.BoxOfficeGuru.com
This week at the movies, we’ve got honeymooners (The
Heartbreak Kid, starring
Michelle Monaghan), teenage heroes (The
Alexander Ludwig), bookworms in love (The
Jane Austen Book Club, starring
Blunt), and fledgling rappers (Feel
the Noise, starring
Zulay Henao). What do the critics have to say?
For Rhode Islanders, the work of
Peter Farrelly has long been a source
of regional pride; their best work (There’s Something About Mary,
and Dumber) deftly combined taboo-busting, gross-out yucks with an
undeniable sweetness. So it breaks the heart of this Ocean State native to
report that their latest,
The Heartbreak Kid, isn’t generating all that
much warmth with the critics. Based upon
Elaine May‘s 1972 semi-classic, Kid
stars Ben Stiller as a recently-married guy who quickly learns his new bride has
much more baggage than he bargained for; on his honeymoon, he meets Miranda
(Michelle Monhagan), who just might be the right gal for him. The pundits say
that while the film does contain a smattering of raunchy laughs, they seemed
shoehorned into the film, undercutting character development and any kind of
message. At 48 percent on the Tomatometer, this Kid isn’t alright. It’s
certainly a cut below the original (at 89 percent).
Also opening this week in limited release:
Lake of Fire,
expressionist, evenhanded documentary about the abortion debate, is at 100
percent; Desert Bayou, a doc about the plight of African-American
Hurricane Katrina refugees in Utah, is at 100 percent;
My Kid Could Paint
That, a portrait of an artist who’s a very young girl (and may not be solely
responsible for her highly-valued canvases), is at 100 percent;
For the Bible
Tells Me So, a doc that explores the Good Book’s teachings on homosexuality,
is at 89 percent;
Kurt Cobain: About a Son, an impressionistic look at
the life of the Nirvana frontman, is at 82 percent;
starring George Clooney as a corporate whistleblower, is at 81 percent (check
out our review from the Toronto Film Fest
Finishing the Game, a
mockumentary about an attempt to complete
Game of Death after
his untimely demise, is at 50 percent; and
The Good Night, starring
Gwyneth Paltrow in the tale of a romance that takes place in a man’s dreams, is
at 46 percent.
Recent Ben Stiller Movies:
44% — Night at the Museum (2006)
Tenacious D In: The Pick of Destiny (2006)
25% — School for Scoundrels (2006)
55% — Madagascar (2005)
Dodgeball: A True Underdog Story
Following a six-week streak of R-rated films topping the charts, The Rock‘s family comedy The Game Plan led the box office last weekend. Now, adult fare comes back to claim the crown with the new Ben Stiller comedy The Heartbreak Kid which is aiming for an easy number one debut. Also opening nationally are the fantasy adventure The Seeker: The Dark is Rising and the music-filled drama Feel the Noise. With the Columbus Day holiday falling on Monday, some students will have extra time off making for a solid start for the month of October.
Almost a decade after There’s Something About Mary became a sleeper smash, directors Peter and Bobby Farrelly reunite with Stiller for another raunchy relationship comedy with The Heartbreak Kid. A remake of the 1972 film written by Neil Simon, the Paramount release stands as another number one hit inherited from the DreamWorks factory. The pic tells the story of a man who marries too early and then falls for another woman during his honeymoon. In the past year, the R-rated envelope-pushing comedies Borat, Knocked Up, and Superbad grossed nearly $400M in combined domestic box office proving that there is gold to be mined in this genre when films are made well and deliver the laughs that audiences want.
Plus star-driven comedies with major Hollywood faces routinely lure moviegoers away from the home and into the multiplexes. Heartbreak will probably not reach the $30.7M opening weekend figure of Knocked Up which had more buzz plus opened in June when most college students were out of school. But reviews so far have been quite good for this type of film so adults will certainly give it a try. And with so many dark and serious films about outlaws, vigilantes, and terrorists out there, audiences definitely want something light and funny right now. Opening in over 3,000 theaters, The Heartbreak Kid may debut with about $27M this weekend.
The Middle East drama The Kingdom has been ranking number one during the week since kids are busy with school and less able to see Game Plan. Universal should see a 45% drop to about $9.5M which would put the Jamie Foxx actioner at $32M after ten days. Look for Resident Evil: Extinction to slide 50% to roughly $4M leaving Sony with $43M to date.
LAST YEAR: October kicked off with a bang with the top spot debut of Martin Scorsese‘s The Departed with $26.9M. Warner Bros. went on to gross $132.4M domestically and $288M worldwide plus scored four Oscars including the coveted Best Picture statue. Opening in second place with $18.5M was Texas Chainsaw Massacre: The Beginning which was the first of three horror sequels that month. New Line found its way to $39.5M. Sony’s toon hit Open Season dropped to third with $15.6M in its sophomore frame. The Lionsgate comedy Employee of the Month bowed in fourth with $11.4M on its way to $28.4M. The Guardian rounded out the top five with $9.6M in its second weekend.
Author: Gitesh Pandya, www.BoxOfficeGuru.com
After toning down the crude and turning up the cute (even
Fallon a chance in
Fever Pitch!) for
the last six years, the Farrelly brothers return to R-rated raunch territory
opening this Friday. It’s a remake of the 1972
film of the same name and this week we’ll journey through the New York
playwright’s presence throughout cinematic history.
Unlike most playwrights, financial success greeted
Simon on his
first play, a Tony nomination for the second, and from them on his reputation as
one of contemporary America’s finest writers — capable of light comedy,
absurdist humor, and drama, often within one pen stroke — was cemented. Like
The Ramones, and
most other artists indelibly associated with New York, the height of Simon’s
powers and fame existed within the 1970s. This was the decade of the American
New Wave, celebrating the urban landscape in all of its profane glory. Pauline
Kael and Andrew Sarris
were turning film criticism into an art. The New York auteur became an accepted,
well-recognized beast. And Broadway plays were being adapted into film with
surprising regularity (and not just those funny musical ones).
Four of Simon’s plays had been adapted to the screen by the
time he contributed his first original screenplay,
The Out of
Towners (60 percent), starring
and Sandy Dennis.
Afterwards, original works and adapted screenplays started coming out of the
Simon woodwork at a steady clip. You know of (and probably have already seen)
The Odd Couples,
Biloxi Blues (76
The Goodbye Girl (75 percent). Here’s some of the lesser-known cinematic
works of Neil Simon.
Imagine some of the most iconic detectives — Charlie Chan,
Nick and Nora Charles, Hercule Poirot, Sam Spade, and Miss Marple — as
re-envisioned by an immature writer. A really smart, immature writer. In 1976’s
Murder by Death
(73 percent), written for the screen by Simon, an ensemble of detectives
are invited out to the countryside for a night of food, entertainment, and, of
course, murder. Simon sublimely spoofs the murder mystery with Murder by Death,
and stuffs in more penis, poop, and tongue-in-cheek jokes you’d though possible
coming from the mouths of such a reputable cast. Highlights include
Sellers as Sydney Wang, the Chan rip-off who spouts lame profundities in
broken English, and
as the blind butler who definitely maybe commits a few murders.
enjoyed that mid-decade renaissance with two movies (Capote,
publication of his long-lost first novel, Summer Crossing, it was surprising Murder by Death didn’t surge in
popularity. Capote makes a late game appearance in the film as a cranky,
eccentric millionaire ("Say your ******* pronouns!" Capote yells to the
syntax-challenged Wang) who has a lengthy meta spiel about the lameness of
Sometimes you write a piece that’s too good to throw away,
but way too short to turn into a play. What do you do then? If you’re Neil
Simon, you cobble them all together, centering the vignettes around a single
(50 percent) is the middle of this loose trilogy, including
Plaza Suite (40
percent) and London
unrelated groups converge on a Beverly Hills hotel, among them Walter Matthau
as a man who, after a night of poor, drunken judgment, must hide the unconscious
girl in his bed from his wife (Elaine May). Matthau brilliantly juggles
slapstick and simpering pathos — another notch for someone who’s never given a
From Alvy Singer to John McClane, the “New Yorkers trapped in
Southern California” trope has been a limitless wellspring for comedy. Simon once
famously proclaimed there’s only 72 interesting people in Los Angeles (as
opposed to the six million in New York) and the City of Angels in California
Suite clearly comes from an East Coast perspective. Simon explicitly explores
this with the Alan
Fonda storyline. Alda plays a reformed New Yorker who now sports a tan and a
polyester wardrobe, while Fonda plays his verbosely cranky ex-wife on a forced
visit to LA. Simon is transfixed on the possibility that a New Yorker can
somehow turn into a West Coast creep. In one scene Alda and Fonda will be
arguing about this subject, and in the next they’re randomly coolin’ on some
There’s only a few blemishes on
formidable portfolio of 1980s comedies. And they’re not necessarily bad, just
relatively unknown. One of them is 1984’s
The Lonely Guy
(50 percent), based on a book called The Lonely Guy’s Book of Life
and adapted by Neil Simon. Martin stars as Larry Hubbard, a aspiring novelist
who becomes a Lonely Guy (yes, it’s an oft-used term in the movie) after getting
dumped. He befriends
another Lonely Guy, and they embark on a life possibly spent alone, together.
They buy ferns, dogs, go out to dinners, and throw parties with cardboard
cut-outs of celebrities. Martin is reliably funny, but Grodin steals the show
with warm performance keeps the movie grounded, and a perfect contrast to
Martin’s manic movements. It makes Grodin current self-exile from movies all the
The Lonely Guy‘s surreal tone and sappy romantic
story takes a very long time before they gel, but there’s more than a handful of
comedic nuggets to keep this movie compelling. In true New York fashion, random
bits of Martin and Grodin talking about nothing in particular are interspersed
throughout. The highlight comes in a lengthy discussion about hair and how
bums, who don’t even need hair, seem so capable of keeping it together. It’s
Seinfeld segment never put on TV.
Having entered his 80th year this past July, it’s understandable why Simon has slowed down in recent years. His last film was a TV adaptation of The Goodbye Girl with Richard Dreyfuss, and his last play was in 2003. But New York artists are known for their longevity. With the New York auteur making a comeback, who’s next?
Watchmen has begun filming but Malin Akerman is still on the press rounds for The Heartbreak Kid. She provided a preview of her role as The Silk Spectre before she joins the rest of the cast on the set.
“This is a really cool role,” Akerman said. “She’s sort of the psychology of the film because she’s the only woman in the Watchmen aside from the previous Watchmen. She is a femme fatale. She is a kick ass fighter.”
The film should be action packed, but Akerman will get to inject the conflicts with some heart. “I think she sort of carries the emotion of the film because she is the only woman amongst all of these men. They’re going through sort of not being the Watchmen anymore and dealing with that as well as trying to figure out who is trying to kill them off.”
Unlike director Zack Snyder‘s previous 300, most of Watchmen will be practical location shooting. “There’s not that much green screen because it’s very real. We’re not superheroes or anything like that. We just fight. We fight crime. There’s only one scene on Mars that I think will be a green screen. I’m excited. I’m looking forward to trying new things.”