In Contention

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  • OFF THE CARPET: ‘Inception’ to the rule?

    As I look over the last week of activity, believe me, I’m as over-inundated with “Inception” talk as the next guy. But it is the film that captured a collective imagination throughout the country this weekend and, therefore, it has been a mainstay on the front page.

    I purposely held the latest Oscar column until today because I wanted to see how profound its release would truly be. I wanted to know what kind of a mark it would make at the box office, how the masses would react, how the critics would leverage it this way or that. And I haven’t come up with anything more or less definitive, in my mind, than what I’ve already mapped out.

    In the world of Oscar, there might just be three Best Picture nominees already in the marketplace, as Nathaniel Rogers shrewdly noted in a recent column. That’s actually kind of a miracle this early in the season. But it’s also interesting to note that each film — “Toy Story 3,” “The Kids Are All Right” and “Inception” — probably needed the extra five slots to make it in (assuming they all do get in).

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  • Degrees of devotion

    The best thing that came out of last week’s online fracas over assorted critics’ response to “Inception” was a brief swell in useful conversation about critical nuance and responsibility. On Thursday, I touched on the Rotten Tomatoes-trained tendency of many readers to box film criticism into distinct ‘love’ and ‘hate’ camps, and as far as I’m concerned, US-based British writer Tom Shone has pretty much the last word on the matter. Responding to a Sasha Stone post about the blogger/critic divide, Shone writes:

    The blogger/critic dust-up over Inception illustrates the divide between those who for whom love of a film means nothing less than full-throated devotion, coupled with a blindness to all its flaws — a kind of creeping politesse that insists on nary a bad word be said of the great and the good. The kind of writer for whom the words “genius” and “masterpiece” silence all internal debate. And those whose admiration for a film or filmmaker comes striated with a sense of its imperfections, who see no contradiction between loving a film and finding fault with it — the faults peg their admiration higher. The blogosphere seems sometimes to forget this. They mistake reverence for respect. They’re strangely pious. Again: where are the outlaws?

    I have nothing further. (P.S. He likes “Inception” just fine.)

  • SUNDAY CENTS: On closer ‘Inception’

    *All historical figures cited are adjusted to today’s dollars.

    Alright, let’s talk about “Inception.” People have been salivating over this thing since before it even went into production and the marketing campaign Warner Bros. put together was pretty top notch. The director was coming off the biggest film of the decade (at that time) and the cast was impressively assembled, led by one of the biggest names on the planet. Early reviews were ecstatic and the market was desperate for a live action blockbuster to live up to the hype.

    With all that said, “Inception” opened at the top of the box office this weekend with $60.4 million. Is that any good? Well, it’s less than “The Dark Knight” made in one day, but it’s by far the biggest opening of Leonard DiCaprio’s career. With no previous source material and a tricky sci-fi premise aimed at adults, Warner Bros. was always going to have an uphill battle here.

    As far as summer sci-fi goes, it’s a little less than what “I, Robot” debuted with in July 2004, but well ahead of the $48.8 million launch for “Minority Report,” which had Cruise and Spielberg to help sell. That film had similarly positive reviews and went on to gross 3.7 times its debut with a $180.7 million finish. If “Inception” were to do the same, we’d be looking at a $223 million total.

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  • CONTEST: Win a copy of the ‘Inception’ soundtrack

    Following yesterday’s interview with “Inception” composer Hans Zimmer, I thought it would be fun to run a contest and give a few of these bad boys away.  (Confession: Yes, I ended up with more than one.)

    I figure we’ll go with an oldie but a goodie from Sasha Stone: A haiku contest!

    Cut loose with your best “Inception”-related haiku and the two best entries win a copy of the soundtrack, courtesy of Warner Bros. and Reprise Records.  Bonus considerations go to those who find a way to work thoughts or perspective on the score into their haiku.  We’ll pick a winner in, oh, let’s say mid-week.  Wednesday, depending on when things trail off here.

    Have at it in the comments section below!

  • A geek among geeks

    I’m glad Legendary Pictures honcho Thomas Tull received a nice puff piece in Variety this weekend. After all, the projects his company has been partnering up on have kept the money flowing.

    But I was also struck by the fact that Marc Graser’s story rifled off adaptation after adaptation, across a number of platforms, be it “Godzilla,” “Akira,” “World of Warcraft” or the Superman reboot. While Christopher Nolan’s Legendary-backed “Inception” is wowing audiences in theaters with a wholly original concept derivative of nothing, Tull and Legendary are still sticking to built-in fanbases and titles that can provide ancillary dollars as a result of that audience.

    It’s a necessary evil. We all get it. But shouldn’t a company like Legendary be in a position to support other filmmakers who might have earned the risk on their own original (high) concepts? Zack Snyder’s getting a Legendary boost for “Sucker Punch” (which will have a presence at Comic-Con), but that’s about it.  When I reviewed “Inception,” I wrote that the film is “an entertainment with vivid, profound ideas, precisely the kind of daring that ought to be backed by big money.” When is “big money” going to step up once again?

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  • Al Gore says go see ‘Inception’

    Did I miss something?  Are former political types getting into the film review racket?  First Ed Koch, now Al Gore.

    At his official website, the former Vice-President took a moment to endorse Christopher Nolan’s “Inception,” the first time, he says, that he’s gone out of his way to do so.  He refers to and quotes reviews from The Washington Post’s Ann Hornaday and the Los Angeles Times’ Ken Turan and generally gives it a big ole’ thumbs up.

    But it’s not that out-of-the-blue, really.  Gore is close friends with fellow environmental activist Leonardo DiCaprio.  And proceeds from the film’s Los Angeles premiere went to the Alliance for Climate Protection.  As Gore admits, he’s a bit biased.

    But hey, nice to get the ink (as if the film needed it).  Check out what Gore had to say after the jump.

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  • TECH SUPPORT: Best Art Direction — Volume I

    As we like to point out in this space each year, the Academy Award for Best Art Direction is presented to two individuals who have different but key roles in designing a film’s sets and props.

    The first of these, the production designer, is the director of the film’s art department, responsible for the supervision of those in it and the overall architecture of the film’s design. The set decorator, on the other hand, is responsible for filling up those sets with proper scenery to fully bring them to life.  When these individuals, and those who work alongside them in the art department, do their jobs well, we can be fully immersed into the story.

    Historically, the nominees in this field fit into one of two categories: historical or fantastical. At least two – usually three or four – of the nominees every year are set in the past. This is not surprising. Being set outside of day-to-day life, such films require a different sort of research and, moreover, draw attention to themselves by not appearing to be what we encounter every day.

    At the same time, fantasy titles show up at least once, often more, every year as well. Last year’s winner, “Avatar,” is a good example of this.  Rick Carter and Robert Stromberg created a completely different world strictly from imagination.

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  • Ed Koch…yes, that one…reviews ‘The Kids Are All Right’

    Okay, I haven’t been keeping up with this, but it’s brilliant.  Apparently former New York City mayor Ed Koch is getting his film criticism toes wet via The Huffington Post and his Twitter feed.  Most recently he took a look at Lisa Cholodenko’s “The Kids Are All Right”, which reminded him of “The Crying Game.” Make of that what you will:

  • INTERVIEW: ‘Inception’ composer Hans Zimmer and ambient music designer Mel Wesson

    From outside on 14th Street, Hans Zimmer’s Santa Monica offices reflect the typically sterile architecture of the city. Take a few steps in and you’re in the expected world of a musician: bays of dubbing equipment lining the walls, screening alcoves filled to the brim with technology, the usual trappings of a media artist…nothing out of sorts yet.

    However, something lurks behind a large, brown, engraved door in the back, a portal to a creative sanctum and a gargantuan expanse no one would expect to be housed within these otherwise unremarkable premises. Step inside and it feels more like a Viennese castle’s quarters than a Southern California office space (not that the reporter has been to a Viennese castle). Burgundy and cherry wood dominate the scenery as technology mingles with designs of another time, memorabilia decorating every nook and cranny, a Joker statuette keeping watch on the space from afar.

    Zimmer walks in, enthusiastic to discuss his contribution to Christopher Nolan’s “Inception.” He politely (yet somehow cheekily) asks if it’s alright that he smoke a cigarette, then settles in opposite his colleague, ambient music designer Mel Wesson.

    Twenty-six years into a lucrative Hollywood career, Zimmer is tapping into a new creative golden age. He’s coming off his eighth Oscar nomination for his delightfully jaunty work on 2009’s “Sherlock Holmes” and has been a key element of Nolan’s revitalized Batman franchise since 2005. But with “Inception,” his third collaboration with Nolan to date, he says he’s beginning to take note of early career lessons and how they are influencing his work today.

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  • FRIDAY FORECAST: Celebrity ‘Apprentice’

    *All historical figures cited are adjusted to today’s dollars.

    Hey gang, it’s the weekend we’ve all been waiting for. “The Sorcerer’s Apprentice” finally opens and satisfies our bloodlust for not one, but two fantasy collaborations between the Walt Disney company and Jerry Bruckheimer per summer. Perhaps only Pixar can rival their impressive streak of quality entertainment which includes “G-Force,” “Coyote Ugly” and “Bad Company.” More like good company!

    Nicolas Cage teams with the two of them for the seventh time and the hope is obviously to pull in “National Treasure” numbers. Actually, all six previous collaborations have earned over $125 million, so they obviously bring out the best in each other. Unfortunately, “National Treasure” looked brisk and fun while “The Sorcerer’s Apprentice” looks dark and muddled.

    The film already opened on Wednesday and earned $7 million in its first two days. Not looking good for the old Cagester and Bruckmeister as the weekend should only muster another $18 million or so, becoming yet another summer title reliant on international grosses to make a profit. Maybe Jerry will have to stick to TV producing where he lords over, at my last count, 361 crime or detective shows. And at least Cage is shrewd with his money. Oh wait.

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  • Captain Phil’s curtain call

    I don’t know if anyone here is a “Deadliest Catch” fan. I picked the series up sometime around Season 3, I think, and was hooked. It’s always been a great touchstone for my father and I, something we could kind of share our delights in when I call home, even if mom didn’t fully get it.

    So of coursethe last two episodes have been particularly affecting for obvious reasons. But as I caught up with the final episode to feature Captain Phil Harris, I was struck not just by the emotion of the assemblage, but the masterful storytelling on display.

    Truly, I would say this season, with its various dramatic strings forming a brilliant sort of structure, has quickly evolved as one of the most precise and graceful examples of documentary filmmaking I’ve ever seen. Unfortunate circumstances are largely responsible, but I couldn’t be more happy with the delicacy and vision the crew has brought to this series, right now, in this moment.

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  • OSCAR TALK: Ep. 28 — Special Edition! — ‘Inception’ (Yes it is! No it’s not!), Comic-Con preview, contenders so far

    Oscar TalkWelcome to Oscar Talk, your one-stop kudocast between yours truly and Anne Thompson of Thompson on Hollywood.

    In the final of three off-season discussions, Anne and I address the following today:

    • Today is “Inception” day as Christopher Nolan’s latest hits theaters nationwide, so naturally, Anne and I dig into our thoughts on the film. See spoiler note below.  (Don’t forget to tell us what you think of the film.)

    • Unfortunately, thoughts on the film aren’t the only thoughts being bandied about, as criticisms of criticisms ran rampant throughout the week. Anne and I discuss the idea of responding to other reviews in the context of one’s own review.

    • Comic-Con is around the corner as Hollywood descends on San Diego to sell any and everything it collectively can to a geek audience foaming at the mouth. We briefly preview what interests us from the schedule.

    • A few potential awards movies have hit this summer already, which we’ve kind of addressed before, but we dig back in to see what could stay afloat come year’s end, as well as offer one last look ahead before we get to the season.

    Have a listen to the latest podcast below. As always, remember to subscribe to Oscar Talk via iTunes here. We’ll be back again, and weekly, at the start of this year’s awards season Friday, August 27.

    (PLEASE NOTE: There are “Inception” spoilers from roughly 13:00 – 18:00.)

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    Subscribe to Oscar Talk

  • Tell us what you thought of ‘Inception’

    Had enough yet? Well, we hope not. We want to know what you think! I’ve had my say (and again, and again), as has Guy. But enough about us. Midnight screenings are flickering to life on the east coast right now so “Inception” has hit. If you get a chance to see it over the weekend, rifle off your thoughts here.

  • ‘The Town’ trailer

    After Ben Affleck’s directorial debut “Gone Baby Gone,” his latest, “The Town,” doesn’t seem like much of a stretch creatively.  But nevertheless, this looks like it could be a nice late-summer pulse-pounder (along with Anton Corbijn’s “The American”) to clear the palette before the sincere awards fare hits in the fall.  Or maybe Warner Bros. has some Oscar hopes lurking with a performance or two?  Probably not, but Affleck will also be visible in the Weinsteins’ “The Company Men,” so he’s doubling down.  Check out the trailer for “The Town” at iTunes by clicking the image below, or watch the embed after the jump.  (Jeez, lots of trailers lately.)

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  • ‘Miral’ French trailer

    “Miral,” Julian Schnabel’s follow-up to his 2007 award-winning “The Diving Bell and the Butterfly” has a number of readers excited, so thanks to Matt for trackking down the French trailer to the film.  For some time the perception has been that Hiam Abbas would be someone to watch in the film, but it turns out Freida Pinto in the title role was our best bet all along.  She looks great here, but I’m unsure if this will play out as an Academy thing.  The Weinstein Company secured domestic distribution last month.  Click the image below to have a look or watch the embed after the jump.

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  • ‘Inception’: the dream is (too) real

    It seems almost mandatory to begin any discussion of “Inception” with an acknowledgement of its scale of ambition – both aesthetic and intellectual – not least when set against the sights of most other $200 million summer studio pictures.

    So yes, let’s acknowledge it. Christopher Nolan’s latest is an uncommonly heady and intricate tentpole blockbuster, taking on themes of memory, mortality and family that, in conventional Hollywood logic, don’t tend to mesh with noisy, rain-sodden car chases and 007-style explosions in remote Arctic fortresses. I saw it on Monday in pristine IMAX splendor, and took immense pleasure in watching something on that scale that demanded to be kept up with, puzzled out, mentally reassembled, and not merely looked at. And yes, in a season of few mainstream pleasures — and unsurprising ones at best – I’m glad it’s in theaters.

    But it’s easy to praise “Inception” for not being the film it was never intended to be in the first place. Certainly, we can pat Nolan on the back for having crafted an immeasurably brainier and more beautiful summer blockbuster than “Transformers 2,” or even “Iron Man 2,” but to me, it feels glib and condescending to do so: handling with kid gloves a work that asks to be judged by more rigorous standards.

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  • ‘The Social Network’ full trailer

    After a pair of nifty teaser trailers for David Fincher’s “The Social Network” hit the net over the last few weeks, as well as a first-dip poster, Yahoo! Movies has debuted the full monty.  It features the same dialogue we’ve already heard but with the actual footage, as well as a haunting cover of Radiohead’s “Creep.”  Check out the trailer by clicking the image below or watch the embed on the jump.

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  • Meet your friendly neighborhood ‘Green Lantern’

    (Full version on the jump.)

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