Cinematical

I'll never get tired of a successful trailer mash-up, and this has to be one of my favorites of the year so far. Folks have had a lot of fun with The Dark Knight in 2008 (this scene mash-up featuring President Bush's speech is just tops), and the good times continue with Toy Story 2. Yes, I know there's a Toy Story 2 in realz life, but this Toy Story 2 is set to creepy and works surprisingly well alongside the trailer for The Dark Knight -- so much so that I'm kinda scared of Woody right now. See, in this version Woody plays the villain (aka Joker) and Buzz plays Batman (not to mention that Alfred is played by the green dinosaur, Rex). If it sounds strange, wait till you watch the thing.

Speaking of ...



[via Neatorama]

There have been a number of moderate- to high-profile box office fizzles in the past few weeks -- 'tis the season, I suppose, though the flop ratio seems higher than average this year -- and this week adds a couple more to the list. First and most surprising is the tepid performance of Body of Lies, which couldn't leverage the presence of Leonardo DiCaprio, Russell Crowe, or Ridley Scott to open to more than $13 million. I don't really get it: the marketing was action-packed and fairly ubiquitous (though a bit confusing -- people apparently had trouble deciphering the trailer), and I thought the star wattage would do more for the film. (On the other hand, Scott's A Good Year, which also starred Crowe, died an even harder death.) Is anything involving Iraq or the Middle East really that much of a turn-off right now? Or maybe anything perceived as serious? It's really a superb film, and one that benefits from the big screen; you should check it out before it vanishes.

Another addition to the list of big fat flops is Fox's City of Ember, which crashed and burned at number ten (10). I haven't seen it yet, but I'm a big, big fan of Gil Kenan's debut Monster House, and so was rooting for Ember. Unfortunately, I don't think anyone knew that it existed. The football drama The Express doesn't count as a flop, I don't think, since no one expected it to do much better than it did: $4.7 million in sixth place. People just couldn't bring themselves to care about this story again, though the movie isn't bad.

The weekend's hits were exercises in escapist frivolity, which might support one of my hypotheses regarding Body of Lies' failure. Beverly Hills Chihuahua held on to the top spot with $17.5 million, ensuring a sequel. And the low-budget Quarantine took second in a huge victory for Screen Gems -- a $14 million opening for a movie like this is gold.

The full list of estimates after the jump.

To an old-school horror fanatic, this is pretty big news. To the rest of you, it's a bunch of babble with the word "cannibals" tossed in near the end. But remember a few weeks back when we talked about how Jack Ketchum's Offspring was about to become a movie, despite the fact that the novel was actually Part 2 to a novel called Off Season? I not-so-cleverly assumed that the rights to Off Season belonged to someone else, and also that Offspring could easily stand as a non-sequel story.

Apparently those Off Season rights did reside elsewhere, because Shock announces that not only is Off Season going to become a movie, but also that Eric Red will be directing it. Genre fans will know Mr. Red's name from films like The Hitcher, Near Dark, Body Parts, Bad Moon, and the upcoming 100 Feet, but apparently he and Jack are old pals, so the project makes sense to me. (No word on if / how the Offspring movie will relate to the Off Season film, but who knows when the flicks will even be finished?)

Off Season still ranks as my favorite among Mr. Ketchum's books. It's a full-bore survival horror tale that was inspired by "the Sawney Bean legend and horror/siege flicks such as The Hills Have Eyes and Assault on Precinct 13." And yes, it deals with cannibals. We'll assume that Red will also be on adaptation duty, but it's probably a little too early in the process to worry about such things. In the meantime, go read Off Season. And then Offspring.

Just three days ago, when we told you that Jamie Foxx was joining Gerard Butler for vigilante thriller Law Abiding Citizen, we were all still under the impression that Frank Darabont remained in the director's seat for the project. Unfortunately, AICN has confirmed word that Darabont has indeed stepped away from the film, for reasons unknown, and I for one share the sentiment that this is a distinctly less exciting prospect now.

What's curious is how descriptions of the film's plot have varied. Our post on Darabont's hiring and the film's IMDb page (at the moment) both shared a synopsis that involved an elaborate scheme by an incarcerated criminal mastermind to control the city. Last week's Hollywood Reporter piece on Foxx coming aboard took it back to an reportedly original, comparably simpler tale of injustice and revenge, which screenwriter Kurt Wimmer (Street Kings) may still be able to spin into something special.

Just not, y'know, Darabont special. (Maybe he could return to Stephen King country and finally bring "The Long Walk" to the screen; one can hope...).

So you might be wondering what a picture of Eric Bana swigging a beer in a Hulk t-shirt has to do with the remake of a French thriller. Well, the answer I'm afraid is nothing, its just one of my favorite pictures of the Aussie actor -- but back to the business at hand. Variety reports that Millennium Films is currently in talks with Bana to star in their remake of the French thriller, Le Convoyeur (now titled, Armored).

The original film was written and directed by Nicolas Boukhrief, but Millennium have their eye on F. Gary Gray (The Italian Job) to take over the remake. The script was also given a re-working by David Ayer (Training Day) and Andrew Kevin Walker. The story centers on a man (presumably to be played by Bana) working for an armored car company who manages to ingratiate himself into a heist planned by his co-workers. But as it turns out, our protagonist has his own motives for weaseling his way into this band of lowlifes.

Bana had originally been set to star in the flick before dropping the project to play Nero in J.J. Abram's Star Trek reboot. So what could have changed his mind? According to Variety, Bana "has a deal negotiated down to what sources described as a $7.5 million paycheck." Not bad for a guy who has yet to really break out as a leading man.

Bana's schedule would appear to be packed for the foreseeable future, including promoting Trek and the romantic weepy, *The Astronaut's Wife. Not to mention he will be making his directing debut with the documentary, Love the Beast, later this year. Armored is scheduled to start production on April 1st, so Millennium is going to have to work fast if they want to convince Bana to sign on -- I personally can think of 7.5 million reasons to sign on the dotted line.

*Correction: Bana will star opposite Rachel McAdams in The Time Traveler's Wife.

(We first saw it back at Sundance, but the indie drama Good Dick is opening this weekend in limited release. So here's a reprint of our review from last January.)


By: Scott Weinberg

Yes, the title of the movie is "Good Dick," no, there's no character named Dick in the film, and yes, I definitely think that the flick's eventual distributor will change it to something a little less, well, tacky. But I believe a brave distributor will come along and show this fine little film some love -- despite its frequent proclivity for very frank and seriously explicit sex talk. Fortunately, the film comes from a very sincere and heartfelt place, which makes the few "uncomfortable" moments perfectly acceptable ... and frequently quite fascinating.

Jason Ritter and fantastic newcomer Marianna Palka star as a pair of unnamed twenty-somethings who don't "meet cute," don't fall madly in love, and don't really get along all that well -- yet they still make for one of the most fascinating on-screen movie couples in quite some time. "He" is a homeless video store clerk who has a desperate yearning for some romantic contact. "She" is a seriously unhappy young woman who seems to have a strong affection for hardcore pornography. "He," for some strange-yet-sweet reason, can see through her powerfully unpleasant exterior -- and he seems to be well and truly smitten with this dysfunctional female. "She" claims to have no affection whatsoever for her new sorta-boyfriend, but she also welcomes him into her apartment (and bed) time and time again. Oh, but she won't get physical. At all.

How do you follow films like The Transporter and Transporter 2? Um, you hire non-stop bad-ass Jason Statham to star in Transporter 3? (Yep.) The third entry in the hyper-kinetic action series comes from Lionsgate (whereas the first two came from Fox) and of course the producers found a way to get Mr. Statham back for Part 3 -- AND they found a way for him to fight with his shirt off. (Marketing class tells us this brings females to the theater.)

The first film dealt with an oddly superhuman courier who is forced to kick much ass when he's double-crossed by some villains. The second film ... pretty much the same, although the action bits were upgraded from slightly absurd to full-on Looney Tunes. Part 3? Yeah, our favorite "package" deliverer is forced to go on a mission, only if he wanders too far from his car, a giant wrist-bomb will go off. Apologies to my film professors, but that's just enough of a plot to get me interested in an action movie.

Transporter 3 opens on November 26, and LG has just released the final trailer. Here it is, and thanks to TrailerAddict.com for hooking us up with the embeddables:

(We first caught Joe Swanberg's "Nights and Weekends" at Austin's SXSW Film Festival, but since it's opening in limited release this weekend, we're reprinting our review from last March.)

By: Erik Davis

Nights and Weekends marks writer-director Joe Swanberg's fourth consecutive film at the South by Southwest Film Festival, and it's quite possibly his strongest work yet. Here, Swanberg co-directs and stars alongside girl-next-door-with-an-edge Greta Gerwig – and the two play a couple struggling through the highs and lows of a long distance relationship. What we see is what we don't see, if that makes any sense, as Swanberg and Gerwig consciously chose not to hand this one to the audience on a silver platter. Case in point: There's really no narrative at all. One would think a film with no narrative would be the equivalent of recording you and your significant other watching TV on a Friday night – cuddled up, chitter chatter with a pause for a snack here and there.

On the surface, Nights and Weekends is just that – a regular night (or nights) with regular people who talk just like us or them or your friend with the huge crush on that guy we all kinda know. But look a little deeper and Nights and Weekends is so much more than "just another 'Mumblecore' flick about confusing relationships and missed opportunities." Swanberg and Gerwig do a tremendous job tapping into everything we love about our relationships, as well as everything we hate – and they do this with moments, glances, kisses and tears. No score. No set pieces. No set up and payoff. In an interview the morning after the film's world premiere, Swanberg told me that's exactly how he remembers his own life: as random scenes, conversations or smiles – a mixed fruit basket of love, lust, fear and disappointment.