In Contention

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  • Comic-Con…here we go

    San Diego Comic-ConTomorrow night, the entertainment press will descend upon San Diego for preview night at this year’s annual Comic-Con International. My feelings on this glut-fest are well documented, but even with that in mind, there is simply little to pique my interest as a comic fan.

    Friday’s Warner Bros. panel may have some interesting additives for “Watchmen” (which already launched a trailer last week) and “Terminator: Salvation” (ditto).

    Lionsgate’s “Spirit” presentation can’t possibly offer much more than we’ve already seen in a blanket advertising campaign. And Frank Miller doesn’t exactly dig the festivities in any case.

    Fox’s Thursday presentation offers nothing worth a second glance (though I have an odd interest in “Max Payne”), while Saturday’s offering of a “Pineapple Express” panel is evidence of the Con’s loss of perspective. Not that I’m not interested in the film, mind you, but the studios sank their fangs into the demographic by pushing anything passably Con-worthy on the event years ago, increasingly sucking it dry of life. It all makes me sad.

    But there’s nothing wrong with a giant room full of comics and action figures, not to mention Lou Ferrigno peddling photos for $20 a pop!

    There will be a “Tropic Thunder” screening tomorrow night, while the aforementioned “Pineapple Express” will go before a few critics and journos as well. Be on the look-out for knee-jerk reactions.

    For me, the parties have become the only reason to bother with the convention in recent years. With that in mind, I’ll be heading down Saturday for the Wrath of Con shin-dig — the party of the week. Maybe I’ll corner David Goyer and settle this Two-Face thing once and for all.

  • “Boo-yaaaa”

    httpv://www.youtube.com/watch?v=wbaA68jYYek

  • Christian Bale arrested and released for “verbal assault”

    Christian Bale leaves Belgravia Police Station in central LondonFINAL UPDATE (12:02 p.m.): TMZ.com (I know — I’m sorry) has a post up that has slipped through the cracks indicating that the “assault” was in fact a “verbal assault,” indicating that sucha thing is a crime in England with multiple classes. I must have been guilty of a crime every night at the pub this spring, but oh well.

    They’ve also posted this video of Bale on a UK talk show from Monday, seemingly with much more serious things on his mind.

    This is the last time I’m updating this post. The whole thing seems to have been blown somewhat out of proportion (I’m certainly a part of that frenzy — obviously) and it’s best to let it lie until we get a full version of the facts.

    EARLIER (11:08 a.m.): Thanks to reader Casey, who points us to this People.com story including a statement from Bale’s attorney and a denial of the allegations from the actor:

    “Christian Bale attended a London police station today, on a voluntary basis, in order to assist with an allegation that had been made against him to the police by his mother and sister,” the star’s lawyers said in the statement. “Mr. Bale who denies the allegation, co-operated throughout, gave his account in full of the events in question, and has left the station without any charge being made against him by the police. At this time, there will be no further comment by Mr. Bale.”

    EARLIER STILL: By now, many of you may have come across the Christian Bale story that is erupting out of London this morning. As far as I can tell, the Associated Press went to press first (picked up by Variety here).

    In a nutshell, the “Dark Knight” star was accused of (not charged with) assaulting his mother, Jenny, 61, and sister, Sharon, 40, just prior to the London premiere of the film. He was held for more than four hours by Scotland Yard and, according to The Sun, he was “released on bail to a date in September pending further inquiries.”

    Obviously this is a very cloudy situation at the moment full of indications that could easily be bigger on the page than they are in reality. Apparently the incident occurred two days ago, but police allowed Bale to attend the premiere of the film last night in Leicester Square.

    I agree with David Poland’s sentiments, which speak to the question mark nature of a story with far too many holes at the moment:

    What does “assault” mean? What kind of confrontation led to the conflict? What drives family members to a place where they will go to the police, knowing that their family member, a public figure, will be dragged through the mud, perhaps for teh [sic] rest of his life?

    And personally, I feel like headlines such as “Did Batman beat up his mother and sister?” (EDIT: since changed to “assault”), while accurate on the face (in so far as the question), and certainly controversial (gotta amp up that traffic), are somewhat disrespectful.

    Ditto good journalists jumping to conclusions.

    Just me…

  • WB: “We had more prints in Bel Air on Saturday night than Cleveland.”

    Go buy a friggin’ ticket you elitist hordes, you.

  • Jonathan Nolan (kind of) confirms the unthinkable

    Aaron Eckhart in The Dark KnightBIG “DARK KNIGHT” SPOILERS ON THE WAY!

    You’ve been warned…

    I just listened to this interview with “The Dark Knight” screenwriter Jonathan Nolan, conducted by Creative Screenwriting’s Jeff Goldsmith.  In it, Nolan vaguely confirms what I’ve been railing against all weekend: the fact that Harvey Dent is dead at the end of the film.

    It’s maybe a third of the way through the interview.  And it’s covered in ambiguity.  But he doesn’t come out and agree with the way Jeff poses the question, per se.

    Alright…as I said, I’ve been of the mind that this “death” has been far too weak to hold.  But if indeed it does, let me get this straight.  You kill off — in an entirely ambiguous way — the most important foil dynamic of the franchise aside from the Joker?  This is impotent.  This is foolhardy.  This doesn’t work, and in part, it forces me to completely rethink my view of the film.

    I don’t believe it is unnecessary to do away with the character.  I don’t think he needed to have his own free reign as a major villain in some other film.  I’m fine with utilizing Dent as a device to carry across the themes of this film and moving on.  But not in the last 30 fucking minutes of the flick; not cramming one of the most unique and complex Bat villains into a screen time that really pillages the potential.

    If…IF……well then, I’ll need to mull that over for a bit.

  • ‘Batman 3’ (and beyond) casting call

    BatmanOnce again…allow me to geek out for a bit…

    (SPOILERS FOR “THE DARK KNIGHT” IN THE BODY OF THIS POST — NO WORRIES AFTER THE JUMP.)

    Now that the record-breaking hysteria has (somewhat) subsided regarding “The Dark Knight,” I thought I’d take a moment to forecast the third installment (and perhaps future installments) of Christopher Nolan’s franchise.

    First thing’s first. What to call the next film? Ideas bounced around by fans have included tips of the hat to other aspects of the universe (“Batman Beyond,” “The Dark Knight Returns,” etc.). My personal hope was always that the Dark Knight moniker would somehow be a part of the franchise, and thankfully, they went there with the second installment.

    I kind of think taking Frank Miller’s title for part three would be brilliant (especially considering the nature of the final moments of “The Dark Knight”). But the answer here would, of course, have everything to do with the content of the film.

    At this point, we don’t have a clear idea of what to expect from the next film. “Batman Begins” scribe David Goyer (who shares a story credit on “Knight”) formulated the blueprints for a trilogy with Nolan at the outset, and we’re pretty sure Two-Face was supposed to play a considerable role in the next phase. Despite all the chatter that would have you believe Harvey Dent is dead at the end of “Knight,” that early talk of Aaron Eckhart’s contract being for two films couldn’t have been coming from thin air.

    Beyond that, the wonderful thing about the Batman mythos is that there is an array — a “rogues gallery” — of villains to choose from. And certainly, there are seven decades of story development to glean for a solid denouement to the trilogy.

    The Riddler is staring everyone in the face as the most likely possibility. And I really like the idea of handing it over to the character of Coleman Reese (as mentioned by one of our readers last week). Christopher Nolan is supposedly not a fan of the Penguin, and we all want Catwoman to pop up somehow. But that’s a whole other can of worms.

    If I had my druthers, I’d introduce the Riddler and the Penguin (as a mafia figure…nothing major), with Two-Face running rampant as the most dangerous aspect of the trio. But as I said (and we all know), any combination is possible.

    So with that, below you’ll find my personal casting call for the potential rogues we could see in a third film or even future installments of a franchise that could go from here to eternity. Of course, we won’t be seeing all of these cats pop up, but the sky is the limit with this universe.

    Here’s my perspective…

    (more…)

  • What will the Bat’s Monday gross be?

    Warner Bros. Pictures\' The Dark KnightI was just talking with someone who went to see “The Dark Knight” at a noon IMAX show today and was met with a sold out crowd. So I’m wondering, what will the Monday gross turn out to be, and how many more records are left for the Bat to claim?

    The 4-day total is obviously going to fall. “Spider-Man 3” raked in $10.2 million on the Monday following release on the way to a $161.4 million 4-day.

    “Star Wars: Episode III — Revenge of the Sith,” meanwhile, holds the 5-day record with $172.8 million. If “Knight” even matches Spidey’s Monday number (and it’s probably safe to say it’ll zip past it), that will already put the film within $4 million of the 5-day title.

    I’m not a whiz with box office research, but I don’t remember the last time a Friday release claimed the 5-day total. The top 10 on that front is littered with Wednesday releases.

    It’ll be interesting to see how the rest of the world responds to the hoopla and, of course, the specter of Heath Ledger. Personally, I’d love to see the film threaten a billion bucks worldwide, but with a mere $166 million outside the States for “Batman Begins,” that’s obviously a long shot.

    It’ll also be interesting to see what film takes the opening weekend crown from “The Dark Knight.” Looking on the horizon, I can’t even see a pretender to that throne.

    “Transformers: Revenge of the Fallen?” Doubtful. The opening for the original wasn’t as big as many anticipated and nothing about that film’s quality would suggest a rush to the box offices for part two.

    “Terminator: Salvation?” Maybe. But that would take some marketing razzle-dazzle to say the least.

    No, it may take a second “Iron Man,” a fourth “Shrek” or a third “Toy Story” to even come close. ut we’re surprised each and every year, so let’s just sit back and enjoy the ride.

  • “I was their number one son, and they treated me like number two.”

  • Sasha Stone hearts ‘Dark Knight’

    Christian Bale and Heath Ledger in The Dark KnightI did not expect Awards Daily’s Sasha Stone to love “The Dark Knight” as much as she apparently did. Even in conversations recently, we both seemed pretty sure it wouldn’t be her cup of tea.

    Well…she’s done cartwheels:

    I am about the least likely person to take to this kind of movie and it is, far and away, the best superhero movie I’ve seen (though that isn’t really saying much). Anyway, there are very few films I could and would go right back in line and see it again – this is one of them.

  • Not to ruffle feathers or anything

    Pixar\'s WALL-EI really wanted to like “WALL-E.”  I wanted to think this was the next evolution of Pixar, a new depth, a much more meaningful level.  But to be quite honest, it felt like a big step back.

    I don’t want to get into review territory here because you’ve all been there and done that in the three weeks since “WALL-E” release in the states.  I’m only yesterday able to finally give it a look, and I don’t want to come across as willfully pissing in anyone’s cornflakes, but I did want to get my perspective out there.

    I’m obviously no hater.  I have expressed my appreciation for Andrew Stanton’s talent last week, as well as his work on “Finding Nemo,” my personal favorite of the studio’s output.  I didn’t have high expectations either, because I always had a feeling the love-fest was probably somewhat out of hand (much as it is for “The Dark Knight”).  But I didn’t expect such a surface-level experience.

    I do think there is something to the accusation that the film is offensive to the obese, if only because it takes such a facile approach to the themes humans in the film are supposed to embody.  The rather easy nature of the narrative seems to reflect the virtues of the early years of Pixar (during which the project saw its genesis) more than it does the Pixar of today, which has proven a penchant for layers and texture in both story and screenplay output.

    I fully appreciate what the film is attempting to be, and especially, what it wants to say to kids and adults alike.  That alone keeps it from the muck of typicality where animated feature films are concerned.  But you grow to expect more when you’re treated to the complexity of films like “Finding Nemo” and “Ratatouille,” as well as the creativity of “Toy Story” and “Monsters, Inc.”  “WALL-E” feels shallow in comparison.

    I also think the love story is borderline nonexistent and that the film plays up that “Eve-ah?” line far too often for the “Awww” emotional impact.  The choice to use real actors for the humans of the past doesn’t seem to reach the thematic comment I assume the filmmakers were hoping for, while the canvas of the film seems to be the least visually interesting of all the Pixar endeavors — despite the participation of Roger Deakins behind the scenes.

    The things I enjoyed are the little nuances that tend to highlight and emboss the power of a Pixar film, rather than serve as a crutch to keep the narrative feeling somewhat fresh.  The “woah, woah, woah” of the cleaning robot, the retirement of WALL-E to his abode at the end of a long day, the emotive power of his expressions, etc.  And to be honest, the fire extinguisher bit is probably one of my favorite sequences of the year.  But those touches are supposed to complement a package we are to assume would be solid in their stead.

    So again, I don’t want to seem like I’m blowing a whistle or being contrarian for its own sake.  Those who know me know I don’t seek out such instances.  But “WALL-E” missed almost every mark for me on the way to becoming a very unsatisfying experience.  “Cars” perhaps inches it out for Pixar’s least accomplished effort to date, and I’m pretty sad that’s how the cookie crumbled for me.

    One guy’s opinion…

  • Has a woman ever been nominated for cinematography?

    In my research, for “Tech Support” (which will be starting in less than a month), I came across the question which finds itself in the title. My immediate reaction was that this is the only category (excluding male acting, obviously) where a woman has never succeeded in earning a nomination. I, of course, could do the research on this myself but if anyone knows, that would be great!

    If not, Mandy Walker could very well become the first this year for “Australia.” (EDIT: I notice Guy has already covered this in another post.)

    (Sorry to not be participating in all “The Dark Knight” posting but I don’t know what I can add to what’s already been said. While not flawless, Christopher Nolan has given us a true epic completely in his vision, full of top-notch performances by actors who know what they’re doing.)

  • ‘Watchmen’ series on iTunes

    Watchmen available on iTunes

    It looks like the “Watchmen” marketing plan is kicking into high gear. The trailer landed last week and is attached to prints of “The Dark Knight.” Meanwhile, the panel with Zack Snyder and company is one of the most anticipated Hall H gatherings of this year’s San Diego Comic-Con.

    Well now it looks like WB and Detective Comics have transferred the Alan Moore graphic novel to an animated endeavor, currently available on iTunes. The animation is really simple — just frames from the book set to motion — and it’s a great primer for anyone who hasn’t read “the ‘Citizen Kane’ of comic books” yet.

    And the first episode is FREE! Can’t beat that. Go check out your iTunes store now!

  • What’s the best superhero movie of all time?

    Christopher Reeve in Superman: The MovieWell it looks like those of us who were banking on more than $145 million for “The Dark Knight”‘s opening weekend were spot-on, as news of numbers pushing past $150 million rolls in. Meanwhile, last week’s poll had most voters expecting more than $350 million for a total domestic gross. I’d say that’s quite reachable now. So pat yourselves on the back.

    This week, in lieu of a better idea, I thought I’d toss up the ole’ “what’s the best comic book movie ever” question. But in order to keep it down to 10 choices (including an “other” option), I chose films sporting a Rotten Tomatoes rating of at least 85%. To my understandable shock, this does not include “Batman Begins,” for instance, but does, however, include “Hellboy II: The Golden Army.”

    But that’s our cross-section. “The Dark Knight” is currently holding steady with the best rating (94%), while “Iron Man” and “Superman: The Movie” tie for a close second at 93%.

    Also, note that this is not merely a comics-to-film question. It narrows things down to the superhero sub-genre (and those derived from existing source material at that). Otherwise, I’m sure we’d all like to give shout-outs to “A History of Violence,” “Road to Perdition” and the like.

    Have at it, though, and let us know what you think. If you want to chime in for a film not represented, let us know in the comments section below!

  • Sheer cool overload

    Sorry for another music-related post, but this is surely too awesome to actually be true. Word is out that Jarvis Cocker is writing music for Wes Anderson’s upcoming adaptation of Roald Dahl’s “Fantastic Mr Fox.”

    The former Pulp frontman, responsible for pretty much the greatest, wittiest, most perceptive and socially on-the-button song of the 90’s, has written “three, four songs and some that might become bits of the score” for the film.

    Cocker has good form with soundtracks, having worked on “Harry Potter and the Goblet of Fire” and Alfonso Cuaron’s underrated “Great Expectations.” (Remember the gorgeous Pulp-Patrick Doyle collaboration “Like a Friend,” anyone?) What could be cooler?

    (Answer: maybe everything about Spike Jonze’s “Where the Wild Things Are,” which has the equally tantalising musical possibility of Karen O involved. Who wouldn’t want to see those two duelling it out for Best Original Song at the Oscars? Not that that would ever happen – not least because it seems we may never see Jonze’s much-discussed fantasia at all. So much for my most anticipated title of 2009.)

    But I digress. With Cocker joining a team that already includes George Clooney, Cate Blanchett and Bill Murray lending their vocal talents to the project, Noah Baumbach on the screenplay, and Alex McDowell, no less, on production design duty, “Fantastic Mr Fox” seems to have everything going for it. This could well be the first Wes Anderson film that I actually love.

    2009’s Best Animated Feature race is starting to look a lot more fun than this year’s.

  • And Fergie makes ‘Nine’

    Ugh, they had to ruin it, didn’t they?

    Yes, apparently the woman whose most significant artistic achievement thus far has been introducing the term “lady lumps” to the popular vocabulary is joining the most star-spangled cast in recent memory. She will play the prostitute from the Day-Lewis character’s youth, who was responsible for his sexual initiation. The mind reels. (Actually doesn’t sound like too much of a stretch for her, but we’ll still have to listen to her sing.)

    I like the sound of this project, and Rob Marshall pulled off some offbeat casting ideas in “Chicago,” so I’ll give them the benefit of the doubt here. But seriously, was no other actress available?

  • Saturday total for TDK looking like $48 million

    Warner Bros. Pictures\' The Dark KnightAt least that’s what Warner Bros. sources are telling Nikki Finke (who stays up around the clock, presumably cramming down Cheetos and Cokes, waiting on people to tell her what to write…as always).

    Of course, as she indicates, the film failed to best the $53.3 million Saturday record that “Spider-Man 3” currently holds, but second place ain’t bad on that count. HOWEVER…

    Finke’s sources also tell her that the film’s estimated total North American 3-day haul “looks to be $153M-$155M.” Gee…that sounds kinda familiar, doesn’t it?

    We’ll of course hold off on crapping ourselves until someone speaks up who doesn’t blow with the winds of studio muscled change. But I expect the figures should be close to these.

  • Can Ledger’s brilliance truly move AMPAS?

    Heath Ledger in The Dark KnightAfter seeing “The Dark Knight” three times now, I am convinced that Heath Ledger was an actor of extraordinary ability who might have gone on to the heights of a Marlon Brando or Jack Nicholson.  Sure, that is easy to say now that he is gone, but consider his all too brief filmography.

    Ledger’s work in “Monsters Ball” was superb, a haunting presence through the film, while his performance in “Brokeback Mountain” was among the finest achievements in screen acting in the last 10 years. How in God’s name did he lose the Oscar? That last scene alone still breaks my heart, knowing Ennis will live out his days alone having lost the love of his life.  Thank God for the New York Film Critics Circle, which honored him with their best actor prize in 2005.

    As a drug addict in the little seen but powerful “Candy” he was nothing less than astonishing, and now we arrive at “The Dark Knight.”  What is remarkable about those performances is that each is radically and wildly different from the other, bold and daring, taking performance art to the very edge.

    Imagine signing on to play the Joker and knowing that not long ago Jack Nicholson knocked the role out of the poark and was adored by millions…my God…the pressure?? The dilemma for Ledger must have been similar to Robert De Niro portraying a young Vito Corleone in “The Godgfather Part II,” knowing that the eyes of the film-going world would be watching him closely after Marlon Brando’s Oscar-winning efforts two years prior.

    And of course, Ledger is brilliant in the role, dominating the film in every way.  The Oscar talk is moot. His performance will live forever and if the Academy has the courage to at least nominate him, I will be pleased.

    Does it matter that the performance came in a comic book adaptation? For me, it’s all the more reason to nominate him and celebrate what he accomplished, because he took a role well known to millions and evolved it, made it his own, smeared it with a deeply psychotic spin that works to perfection.

    I personally don’t even expect him to be nominated.  Many great performances have missed Oscar’s call (as outlined in this space many times).  But they still live on in history.

    I hope I’m wrong.

  • Good

    I’m really glad Jeffrey Wells joins my sentiments in calling Terry Gilliam out on his idiotic comments from last week regarding Warner Bros’ position on Heath Ledger in the marketing of “The Dark Knight.” Calls him a “bonehead.” Perfect.