An American Carol Tagged Articles at Cinematical

It was kind of a boring weekend, so I thought I'd have a chat with two of my good pals and then foist it off as an actual article. Our topic of discussion was An American Carol, its reception from film critics and moviegoers, and the aggressive ways in which people often communicate through the internet (our review is currently up to well over 100 comments). Joining us today are my esteemed colleagues Eric D. Snider and William B. Goss. Let's listen in, shall we?

Scott: You both saw and reviewed An American Carol. What can you tell us about readers' reactions to your articles? (Eric's review here. Will's here.)

Will: Reader reaction was, for the most part, violently contrarian, with many equating the lack of laughter on my part to some sort of deep-seated anti-American sentiments, and not due to David Zucker's anti-humor stance.

Eric: Mostly the same for me. A lot of comments were posted within a very short span of time, and they said basically the same thing as each other, making me wonder if there was an organized effort somewhere urging people to make their voices heard.

Scott: Would you say you walked into the film with any prejudice or bias?

Eric: I was predisposed to liking David Zucker. I even liked (for the most part) the last two "Scary Movie" films, which he directed, which I think put me in the minority. I was wary of how good a comedy would be when it was made with such a specific goal in mind -- usually you gotta let the humor come first, then the ideology, not the other way around -- but I was curious to see what would happen.

Will: While I LOVE Airplane!, really like the first Naked Gun, and genuinely enjoy Scary Movie 3, I didn't laugh during the trailer and couldn't recall if I was ever pleasantly surprised by any film that went unscreened for press.

Eric: Good point... Not screening is almost always a bad sign. I'm sure that dampened my expectations somewhat.

Eric D. Snider tried his best to trick me into watching Beverly Hills Chihuahua this week. It didn't work on me, but it worked on millions of Snider acolytes all over North America, who joined forces to give the talking-animals kidflick a strong $29 million, first-place debut. I didn't see it, as I say, so it would be wrong for me to bemoan the decline of civilization that this surely (if unsurprisingly) represents. Feel free to do so in the comments.

Nick & Norah's Infinite Playlist opened to $12 million and third place, which I'd have to say is okay for the low-profile, borderline-niche film. That number, though not terribly impressive, is actually a fair testament to Michael Cera's star power, since his presence was literally the only mass-marketable aspect of the movie. So the debut is at least a draw for Sony.

It was an interesting weekend in that there were several films opening in, or expanding into, semi-wide release. The biggest winner of that bunch has to be Religulous, Bill Maher's aggressively anti-faith documentary, which did $3.5 million on around 500 screens for $6,972 per screen. Given the preaching-to-the-relatively-small-choir quality of the film, I don't expect it to hold up too well in the weeks ahead, but this level of interest is a mild surprise. Facing off against Religulous ideologically was David Zucker's conservative spoof An American Carol which, according to the estimates, edged out Religulous with $3.8 million on over 1,600 screens.

Ed Harris's lightweight western Appaloosa expanded to roughly 1,000 screens and took in $5 million -- which is okay, but seems like a missed opportunity. Faring worse were Flash of Genius (1100 screens) and Blindness (1700), with $2.3 and $2 million respectively, both landing outside the top 10. The grim Blindness was a no-sale from the beginning, especially since the critics never got on board, but the unabashedly populist Flash of Genius underperformed. Maybe the ads emphasized windshield wipers too much.

A bit more plus the weekend's top 12 after the jump.

It is hard to believe that a comedy as singularly inept and downright unfunny as An American Carol came from one of the three minds behind one of the funniest comedies of all time, Airplane! (I'd argue THE funniest, but that's for another place and time), and harder yet to believe that it somehow weaseled its way onto 1,600+ screens this weekend. But here it is, as witless and tactless as anything 2008 has offered up to date, and in a year where the wonder duo that is Friedberg and Seltzer has shat out not one, but two similarly dreadful offerings, that's saying a lot.

Did you hear there are like a million new films opening in wide release today? Well, there are. Some of them are pretty good, too. But just in case that's not enough to keep you occupied, here's the Indie Spotlight with several more titles that might interest you, most of them in limited release and a bit under the radar.

Now, "indie" can be a hard thing to pin down. Bill Maher's Religulous (opening today on 500 screens) might qualify, but you've probably already heard about it. Same goes for Blindness (1,700 screens). You don't need me for those. Instead, here are the five that we're shining the indie spotlight on: Allah Made Me Funny, An American Carol, Ballast, Kidnap, and Rachel Getting Married.

Rachel Getting Married
What it is: One of the big hits at the Toronto International Film Festival, it's a naturalistic drama about an addict (Anne Hathaway) who gets out of rehab just in time for her sister's wedding.
What they're saying: Cinematical's James Rocchi had almost nothing but good things to say about it in Toronto, particularly with regard to the screenplay and Hathaway's performance. (There's a bit of Oscar buzz around both.) At Rotten Tomatoes, the film stands at a solid 76%.
Where it's playing: New York City (Lincoln Plaza Cinemas, City Cinemas, Regal Union Square), Los Angeles (ArcLight Sherman Oaks, ArcLight Hollywood, Laemmle Playhouse in Pasadena, Edwards Westpark in Irvine, The Landmark), and International Falls, Minn. (Cinema 5).
More info: Sony Classics' official site.

Ballast
What it is: A bleak drama about life and death among the lower classes on the Mississippi Delta.
What they're saying: Cinematical's James Rocchi praised the film at Sundance (and interviewed the writer/director, Lance Hammer, here). At Rotten Tomatoes, 75% of the critics agree with The Rocch. It won prizes for its directing and cinematography at Sundance, too.
Where it's playing: New York City (Film Forum).
More info: The official site says it will expand to "select cities" in two weeks.

Chalk up another number one opener for Shia Labeouf as Eagle Eye took the top spot with Richard Gere's romantic drama Nights in Rodanthe sliding into second. Here's the top five:

1. Eagle Eye: $29 million
2. Nights in Rodanthe: $13.4 million
3. Lakeview Terrace: $6.9 million
4. Fireproof: $6.8 million
5. Burn After Reading: $6 million

We've got a whopping six new releases this week, so let's get started...


How to Lose Friends and Alienate People
What's It All About: Simon Pegg stars as a small time gossip journalist from England who joins the staff of a prestigious New York magazine and proceeds to piss off a lot of people.
Why It Might Do Well: Dude, it's Simon Pegg.
Why It Might Not Do Well: No zombies or cricket bats in sight.
Number of Theaters: 1,750
Prediction: $6 million

You may have heard that spoof veteran David Zucker's newest project, An American Carol, is a takedown of Michael Moore. You can now have a look at the trailer, online at Yahoo!. And then you can riddle me this: Does An American Carol look like a clever parody of Moore's documentaries, or just a partisan attack on the filmmaker? Or, put another way, is the clip of Bill O'Reilly slapping around Kevin Farley's "Michael Malone" a commentary on the rivalry between the two, or right-wing wish fulfillment? One thing to note before answering is that O'Reilly appears in the film himself, while Moore does not.

Moore is obviously fair game; I've enjoyed his films, and sympathize with (some of) his politics, but I'd eagerly watch a skillful spoof of the pudgy, faux-working-class provocateur. I think parts of the trailer are pretty funny ("Here I am on the island paradise Cuba!"). But if the point is just to pile on the guy, with a rah-rah patriotic, stop-hating-America message at the end, then I'm significantly less interested.

The thing is, the trailer really doesn't make clear what's going on. On one hand, prominent conservatives like O'Reilly and James Woods appear to deliver literal and figurative blows. On the other, "Michael Malone" gets accused of being a slaveowner, which sounds more like a parody of conservative attacks on Moore than of Moore himself. And is Trace Adkins poking fun at his image here, or is he for real?

We know that Zucker is himself conservative, and that the movie is political -- which is fine. But is it political in an incisive, worthwhile way, or in the brainless beatdown mode of Ann Coulter et al? What do you think?

Here's a whole bunch of comedy-laden manly news for you, courtesy of Variety:

• Recognize the dude to the right? Yes, that's the late Chris Farley's younger brother. Kevin Farley had bit parts in his brother's movies, and since then, has found work in gigs that include The Waterboy, Dickie Roberts: Former Child Star, and Blonde and Blonder. Now he's getting Christmasy -- he's landed a lead role in David Zucker's upcoming satire An American Carol, playing a character named Michael Malone.
• And Kevin isn't the only brother with casting news today. Nate Corddry, brother, of course, of Rob, has nabbed not one, but two roles that have him looking for the truth. He's got a gig in Ricky Gervais' This Side of Truth, plus a part in The Ugly Truth -- that whole Katherine Heigl v. a chauvinist Gerard Butler flick. His acting work includes the voice of Seides in Arthur and the Invisibles Minimoys, plus his gig as Tom Jeter in Studio 60 and Calvin in The Nanny Diaries.
• Last up is the old-school Keith Carradine. He's going to go a little Heston/Nugent and play a big NRA supporter and reverend in the upcoming film Driving Lessons -- the film about the woman whose memory loss gives everyone a new outlook on life. Throwing a gun-toting religious man into the mix should make things interesting, and I imagine he'll be connected to Max Thieriot's "religious, right-wing teenage son."

With this latest bit of information, I can't say that my hopes are any higher for the indie satire, An American Carol, which seems to now be called, simply, American Carol. In February, I posted about the film that's coming our way from David Zucker and Myrna Sokoloff. I noted that Zucker has classics like Airplane! under his belt, as well as stinkers like some Scary Movie sequels.

Kelsey Grammer is starring as a different sort of Scrooge -- one entrenched in current American culture. Now The Hollywood Reporter posts that country star Trace Adkins has signed on to get ghostly in the project, which is also boasting cameos by Jon Voight, Leslie Nielsen, and Dennis Hopper. It's not Trace's involvement that has me unimpressed. It's this description: "The singer will play the Spirit of Christmas Future (aka the Grim Reaper), who uses his musical abilities to help Scrooge avoid a tragic end."

Yes -- once again, Kelsey Grammer will play Scrooge. And no, I'm not talking about Frasier, but rather the bonafide holiday sourpuss. However, it's not going to be your everyday Dickens. Variety reports that the actor has signed on to play a modern-day Ebenezer Scrooge in the indie satire An American Carol, which will take on current American culture -- "particularly Hollywood." (Will menace-to-the-road Britney run over Tiny Tim or something?) The man behind all of this is David Zucker; he will direct the comedy from a script written with Myrna Sokoloff.

Production is scheduled to begin on the 28th, which might have made me giddy for casting announcements and details 15 years ago, but not so much now. Zucker is one of those guys who makes me buy into that whole "selling your soul for success" idea. Now, I'm not trying to insinuate that he's some devil worshipper or anything, but it's amazing how many directors of funny, classic films take nosedives or head down failing comedic mountains. How do you lose that much of your funny? Is it just that comedy success is luck rather than having a firm grip on how to be funny and satirical?

Zucker had some biggies at the beginning -- like the classic, Airplane! In the next decade, he had the Naked Guns, and now we get My Boss's Daughter and some Scary Movie sequels. So far, it sounds like a crapshoot.

At the very least, it can spawn a sequel: An American Carol: Scrooge Goes West.