LOS ANGELES (Reuters) - Troubled star Lindsay Lohan arrived late for Monday's start of her trial on charges of reckless driving and lying to police over a June car crash, after she flew to Los Angeles from New York overnight.
Lohan, wearing a white and pink pants suit, turned up in court more than 45 minutes late after a morning dash from Los Angeles International Airport to the courthouse following a private jet flight from New York.
A bystander threw glitter at her as she walked into court through a phalanx of photographers and camera crews.
Lohan, 26, has pleaded not guilty to reckless driving, obstructing police, and lying to police when she said she was not behind the wheel when her Porsche sports car smashed into a truck on June 8, 2012, in Santa Monica, California.
The actress, who is still on probation for a 2011 conviction for stealing a necklace, faces the prospect of being sent to jail if she is convicted on the latest charges, or if she is deemed to have violated the terms of her probation.
The three misdemeanor charges each carry potential jail terms ranging from three months to a year. But even if Lohan is not convicted, the judge has the power to sentence her to jail for more than 200 days if he determines the actress violated her probation in the 2011 jewelry case.
Monday's trial went ahead after the failure of weeks of behind the scenes negotiations over a possible plea bargain for the 'Mean Girls' actress, who has been to jail for brief periods and entered rehabilitation for drinking and drug problems multiple times since 2007.
Lohan's new attorney, Mark Heller, told reporters earlier this month that Lohan had started a new round of psychotherapy and wanted to give inspirational speeches to school kids in a bid to turn her life around.
However, it's not clear if either of those projects have gotten underway. Lohan has spent much of the three months since being charged over the Santa Monica car crash in New York, where she has been photographed at nightclubs, concerts, and fashion and charity events.
Lohan's once promising Hollywood career has been seriously damaged by her numerous legal troubles. A comeback performance as late screen legend Elizabeth Taylor in the TV movie 'Liz & Dick' in November was largely panned by critics.
(Reporting By Eric Kelsey, editing by Jill Serjeant and Eric Beech)
Monday, March 18, 2013
Sunday, March 17, 2013
Disney's "Oz" keeps magic spell on movie box office
(Reuters) - Walt Disney Co's 'Oz the Great and Powerful' reigned over movie box offices in its second weekend, following up its strong debut a week earlier with $42.2 million at U.S. and Canadian theaters.
The 'Wizard of Oz' prequel starring James Franco beat newcomer 'The Call,' a thriller about a 911 operator trying to save a kidnapped girl. The movie starring Halle Berry earned $17.1 million from Friday through Sunday, according to studio estimates.
'The Incredible Burt Wonderstone,' a comedy featuring Steve Carrell and Jim Carrey as dueling Las Vegas magicians, finished the weekend in third place. It conjured up $10.3 million.
Sony Corp's movie studio released 'The Call.' 'The Incredible Burt Wonderstone' was distributed by Warner Bros., a unit of Time Warner Inc.
(Reporting by Lisa Richwine and Chris Michaud; Editing by Will Dunham)
The 'Wizard of Oz' prequel starring James Franco beat newcomer 'The Call,' a thriller about a 911 operator trying to save a kidnapped girl. The movie starring Halle Berry earned $17.1 million from Friday through Sunday, according to studio estimates.
'The Incredible Burt Wonderstone,' a comedy featuring Steve Carrell and Jim Carrey as dueling Las Vegas magicians, finished the weekend in third place. It conjured up $10.3 million.
Sony Corp's movie studio released 'The Call.' 'The Incredible Burt Wonderstone' was distributed by Warner Bros., a unit of Time Warner Inc.
(Reporting by Lisa Richwine and Chris Michaud; Editing by Will Dunham)
Friday, March 15, 2013
Universal picks newcomer Trevorrow to direct "Jurassic Park 4"
LOS ANGELES (Reuters) - Hollywood newcomer Colin Trevorrow was named the director of the long-awaited fourth installment of dinosaur movie franchise 'Jurassic Park' on Thursday.
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, would be the executive producer of 'Jurassic Park 4,' but he would not direct.
Trevorrow, 36, is little known in Hollywood. He made his feature film directorial debut with the independent time travel comedy 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and has made a TV movie and documentary.
Universal said 'Jurassic Park 4' would be made in 3D and was scheduled for release on June 13, 2014.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
'Jurassic Park III,' directed by Joe Johnston, was released 12 years ago, but its $368 million worldwide box-office take was well below that of the first two films.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler and Peter Cooney)
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, would be the executive producer of 'Jurassic Park 4,' but he would not direct.
Trevorrow, 36, is little known in Hollywood. He made his feature film directorial debut with the independent time travel comedy 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and has made a TV movie and documentary.
Universal said 'Jurassic Park 4' would be made in 3D and was scheduled for release on June 13, 2014.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
'Jurassic Park III,' directed by Joe Johnston, was released 12 years ago, but its $368 million worldwide box-office take was well below that of the first two films.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler and Peter Cooney)
Thursday, March 14, 2013
Universal picks newcomer Trevorrow to direct 'Jurassic Park 4'
LOS ANGELES (Reuters) - Hollywood newcomer Colin Trevorrow was named on Thursday as the director of the long-awaited fourth installment of dinosaur movie franchise 'Jurassic Park.'
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, will be the executive producer of 'Jurassic Park 4' will not direct.
Trevorrow, 36, is little known in Hollywood. He directed the independent movie 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and had previously made a TV movie and documentary.
Universal said that 'Jurassic Park 4' will be made in 3D but did not announce a release date.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler)
Universal Pictures said that Steven Spielberg, who directed the first two movies in the $1.9 billion worldwide franchise, will be the executive producer of 'Jurassic Park 4' will not direct.
Trevorrow, 36, is little known in Hollywood. He directed the independent movie 'Safety Not Guaranteed,' shown at the 2012 Sundance Film Festival, and had previously made a TV movie and documentary.
Universal said that 'Jurassic Park 4' will be made in 3D but did not announce a release date.
Spielberg announced in 2011 that a fourth film was in development, and speculation had been rife about whether he would direct it.
The original 'Jurassic Park,' first released in 1993, will return to U.S. movie theaters in April in a 3D conversion.
Universal, a unit of Comcast Corp, gave no details of casting or the plot for 'Jurassic Park 4.'
(Reporting by Jill Serjeant; Editing by Dan Grebler)
Ang Lee moves into TV after 'Life of Pi' Oscar win
LOS ANGELES (Reuters) - Double Oscar winner Ang Lee is moving over to television after winning the Best Director Academy Award last month for 'Life of Pi.'
Cable channel FX said on Thursday that the Taiwanese filmmaker will direct the pilot episode of its drama 'Tyrant,' about an unassuming American family drawn into the affairs of a turbulent Middle Eastern nation.
It is Lee's first venture into directing for television and his first project since 2012's 'Life of Pi,' the tale of a young Indian boy shipwrecked with a tiger that won four Oscars in February.
Production is due to start in the summer but no broadcast date or casting has been announced. Howard Gordon and Gideon Raff - the team behind Emmy-winning psychological thriller 'Homeland' - are the executive producers.
'Ang Lee has demonstrated time and again an ability to present characters with such depth and specificity that they reveal the universal human condition,' FX President John Landgraf said in a statement.
Lee, 58, is one of the more versatile directors in the industry, his work ranging from martial arts film 'Crouching Tiger, Hidden Dragon' to British literary classic 'Sense and Sensibility' and sci-fi action movie 'Hulk.'
He won his first Oscar in 2006 for directing the gay cowboy drama 'Brokeback Mountain.'
FX, and TV production company Fox 21, which is producing 'Tyrant' along with FX Productions, are all units of News Corp
(Reporting By Jill Serjeant; editing by Xavier Briand)
Cable channel FX said on Thursday that the Taiwanese filmmaker will direct the pilot episode of its drama 'Tyrant,' about an unassuming American family drawn into the affairs of a turbulent Middle Eastern nation.
It is Lee's first venture into directing for television and his first project since 2012's 'Life of Pi,' the tale of a young Indian boy shipwrecked with a tiger that won four Oscars in February.
Production is due to start in the summer but no broadcast date or casting has been announced. Howard Gordon and Gideon Raff - the team behind Emmy-winning psychological thriller 'Homeland' - are the executive producers.
'Ang Lee has demonstrated time and again an ability to present characters with such depth and specificity that they reveal the universal human condition,' FX President John Landgraf said in a statement.
Lee, 58, is one of the more versatile directors in the industry, his work ranging from martial arts film 'Crouching Tiger, Hidden Dragon' to British literary classic 'Sense and Sensibility' and sci-fi action movie 'Hulk.'
He won his first Oscar in 2006 for directing the gay cowboy drama 'Brokeback Mountain.'
FX, and TV production company Fox 21, which is producing 'Tyrant' along with FX Productions, are all units of News Corp
(Reporting By Jill Serjeant; editing by Xavier Briand)
Miyazaki father and son team up for 'From Up on Poppy Hill' film
By Zorianna Kit
LOS ANGELES (Reuters) - Japanese animator Hayao Miyazaki and his Studio Ghibli have, under their belt, some of Japan's biggest global anime movie successes, including 'Princess Mononoke' and 'Spirited Away,' which won an Academy Award in 2003.
Far less known, until now, was Miyazaki's son Goro, who worked as a landscaper for years so as not to compete with his famous father, but later designed the Ghibli Museum in Tokyo and debuted as a director in 2006 with 'Tales from Earthsea.'
Now, for the first time, the pair has teamed up on a film, with Hayao, 72, as co-writer and 46-year-old Goro as director, overcoming a contentious relationship stretching back years.
'From Up on Poppy Hill,' opening in U.S. movie theaters on Friday, is set in Japan in 1963 and focuses on a high school romance threatened by a secret.
Goro Miyazaki talked to Reuters recently, via a translator, about working with his father, a man he was once estranged from.
Q: Umi, the female protagonist in 'Poppy Hill,' has been raising flags for a decade for her deceased father. While yours is very much alive and well, did Umi's longing for her dad stir up anything for you when it comes to your own famous father?
A: The common thread between myself and the character is that the dad was always out working and was never really around. I'd be lying to you if I didn't say that there were times when I thought that maybe my dad should have died a little earlier, just as the character did. I feel like I can really empathize with a child's longing for an absent father.
Q: Now that you're working together, how closely was your father involved in the making of 'Poppy Hill?'
A: He said, 'I will take care of the planning and the screenplay and everything else is your responsibility.' That was the agreement on the roles. But once we began work, he would come around, wander into the room and instead of talking to me directly, he would start looking at the artwork on the walls and mutter suggestions on how to do things a little bit this way, a little bit that way. He never came and talked to me directly.
Q: Did you have to accept his suggestions?
A: More often than not, his advice really hit the mark. So begrudgingly, I often had to take it.
Q: You seem like reluctant working partners. How long does this date back to?
A: Shortly after I started making my first film, I had a huge fight with my father. For a long time we didn't talk. He was opposed to the idea of me directing a film. He felt that it would be ridiculous for somebody with no experience to, all of a sudden, go into directing. He would tell me about how much he had to struggle in his days to get to that place where he could have the opportunity.
Q: What helped you reconcile?
A: Having my (now four-year old) son - his grandson - allowed us to start talking again.
Q: Has your last name been a help or hindrance in your career?
A: Both. The opportunity I received to make this film obviously had something to do with the family name. But once you make the film and it goes out into the world, that name becomes a heavy burden.
Q: Because you're judged by the standards set by your father's work?
A: I think that is true. But it all comes down to how I deal with it. Until recently, I was very jaded about that whole thing, but now (I've turned the corner) and the reason for that actually ties in to my next project, which unfortunately I can't disclose at the moment.
Q: How similar are you and your father?
A: We're both short-tempered and also a little bit dark when it comes down to it, way down deep.
Q: How are you not alike?
A: This may be partly due to the different worlds that we were born into and the different generations, but Hayao Miyazaki is an idealist. He thinks in terms of how people should be, how the world should be.
Q: Where does that stem from?
A: That comes from the fact that he grew up in this post-war period where things were changing and people had this strong ideal about how society should behave. Those of us who were born during a time when that society was much more structured already, we can't share that same sentiment.
Q: This post-war period is exactly the time period 'Poppy Hill' is set in. Why do you think he wrote it for you to direct?
A: It was a time that most Japanese look fondly upon as the one time things were just right. It's after the war and the ravages. It's that point in history where Japan was able to enjoy a brief moment of peace.
(Editing by Elaine Lies and Bernadette Baum)
LOS ANGELES (Reuters) - Japanese animator Hayao Miyazaki and his Studio Ghibli have, under their belt, some of Japan's biggest global anime movie successes, including 'Princess Mononoke' and 'Spirited Away,' which won an Academy Award in 2003.
Far less known, until now, was Miyazaki's son Goro, who worked as a landscaper for years so as not to compete with his famous father, but later designed the Ghibli Museum in Tokyo and debuted as a director in 2006 with 'Tales from Earthsea.'
Now, for the first time, the pair has teamed up on a film, with Hayao, 72, as co-writer and 46-year-old Goro as director, overcoming a contentious relationship stretching back years.
'From Up on Poppy Hill,' opening in U.S. movie theaters on Friday, is set in Japan in 1963 and focuses on a high school romance threatened by a secret.
Goro Miyazaki talked to Reuters recently, via a translator, about working with his father, a man he was once estranged from.
Q: Umi, the female protagonist in 'Poppy Hill,' has been raising flags for a decade for her deceased father. While yours is very much alive and well, did Umi's longing for her dad stir up anything for you when it comes to your own famous father?
A: The common thread between myself and the character is that the dad was always out working and was never really around. I'd be lying to you if I didn't say that there were times when I thought that maybe my dad should have died a little earlier, just as the character did. I feel like I can really empathize with a child's longing for an absent father.
Q: Now that you're working together, how closely was your father involved in the making of 'Poppy Hill?'
A: He said, 'I will take care of the planning and the screenplay and everything else is your responsibility.' That was the agreement on the roles. But once we began work, he would come around, wander into the room and instead of talking to me directly, he would start looking at the artwork on the walls and mutter suggestions on how to do things a little bit this way, a little bit that way. He never came and talked to me directly.
Q: Did you have to accept his suggestions?
A: More often than not, his advice really hit the mark. So begrudgingly, I often had to take it.
Q: You seem like reluctant working partners. How long does this date back to?
A: Shortly after I started making my first film, I had a huge fight with my father. For a long time we didn't talk. He was opposed to the idea of me directing a film. He felt that it would be ridiculous for somebody with no experience to, all of a sudden, go into directing. He would tell me about how much he had to struggle in his days to get to that place where he could have the opportunity.
Q: What helped you reconcile?
A: Having my (now four-year old) son - his grandson - allowed us to start talking again.
Q: Has your last name been a help or hindrance in your career?
A: Both. The opportunity I received to make this film obviously had something to do with the family name. But once you make the film and it goes out into the world, that name becomes a heavy burden.
Q: Because you're judged by the standards set by your father's work?
A: I think that is true. But it all comes down to how I deal with it. Until recently, I was very jaded about that whole thing, but now (I've turned the corner) and the reason for that actually ties in to my next project, which unfortunately I can't disclose at the moment.
Q: How similar are you and your father?
A: We're both short-tempered and also a little bit dark when it comes down to it, way down deep.
Q: How are you not alike?
A: This may be partly due to the different worlds that we were born into and the different generations, but Hayao Miyazaki is an idealist. He thinks in terms of how people should be, how the world should be.
Q: Where does that stem from?
A: That comes from the fact that he grew up in this post-war period where things were changing and people had this strong ideal about how society should behave. Those of us who were born during a time when that society was much more structured already, we can't share that same sentiment.
Q: This post-war period is exactly the time period 'Poppy Hill' is set in. Why do you think he wrote it for you to direct?
A: It was a time that most Japanese look fondly upon as the one time things were just right. It's after the war and the ravages. It's that point in history where Japan was able to enjoy a brief moment of peace.
(Editing by Elaine Lies and Bernadette Baum)
"The Incredible Burt Wonderstone" review: this magician comedy has almost nothing up its sleeve
By Alonso Duralde
LOS ANGELES (TheWrap.com) - Desperate for publicity, old-school Vegas magicians Burt Wonderstone (Steve Carrell) and Anton Marvelton (Steve Buscemi) decide to spend a week locked inside a plexiglass box suspended over the Vegas strip. 'Remember,' advises their assistant Jane (Olivia Wilde), 'all you have to do is nothing.'
It's a funny line, but one also suspects it was the production motto for 'The Incredible Burt Wonderstone,' a movie that always seems poised to deliver big laughs but, once the smoke and the pigeons clear, leaves you only with a mild chuckle or two.
The film falls squarely into the formula that Will Ferrell popularized - let's find something dorky and look at characters who take it totally seriously - but 'Burt Wonderstone' can't decide if it wants to bury glitzy, cornball, Vegas-style magic or to praise it, resulting in a comedy that occasionally talks tough but ultimately reveals a bland, mushy center.
Our hero is introduced as an unpopular, bullied child; Lyle Workman's score goes into minor-key overdrive when poor little Albert (Mason Cook) gets beaten up on his birthday, only to come home to an empty house, a note from his working mom, a box of cake mix and one present. But that present turns out to be a magic kit endorsed by the legendary Rance Holloway (Alan Arkin), and the kid is hooked. (Any resemblance between Rance Holloway and Harry Blackstone Sr. is entirely intentional.)
Magic not only stimulates Albert's imagination, it's a way for him to bond with fellow outcast Anton, and the two become inseparable. A few decades later, they're headlining in Vegas with a show that spotlights their 'Magical Friendship' - except that off-stage, they're hardly speaking. Burt has become absurdly vain and pompous, and their show, while still popular, is stale and repetitive.
Stealing their spotlight is Steve Gray (Jim Carrey), a 'street magician' of the David Blaine-Criss Angel school, and while his shtick is more about self-mortification and less a matter of prestidigitation, audiences go wild for his TV show, 'Mind Rape.' Which leads to the Plexiglass-box incident, and after that goes awry, Anton leaves the act, leaving Burt to try to do the same show by himself, with no one filling in the other half of the dialogue.
Canned by hotel mogul Doug Munny (James Gandolfini), Burt is reduced to living in a shabby motel and entertaining at an old folks' home. (There's no transition from top of the heap to bottom of the barrel; the words 'Reno,' 'Laughlin' and 'Branson' are never spoken.) Will a chance encounter with the aged Rance Holloway help Burt get his magical mojo back?
Take a wild guess. Obviously, in a movie like this, it's about the journey and not the destination, but screenwriters Jonathan Goldstein and John Francis Daley ('Horrible Bosses') and director Don Scardino keep the proceedings mild when they could be wild. Worse, they assign each character one or two defining traits, and then we see them indulge those flaws over and over and over again until they're not remotely funny anymore.
Carrell and Carrey are operating in their wheelhouses with these absurd showmen, but they're hemmed in by the script's limited parameters and they quickly grow tedious. Their redundant cartoonishness becomes so wearying that Wilde and Arkin wind up stealing the movie by underplaying.
We know from 'The Prestige' and any number of other movies about magic that illusion is all about what you do while you're distracting the audience. It's too easy to look right through 'The Incredible Burt Wonderstone,' which means it can never really dazzle us.
LOS ANGELES (TheWrap.com) - Desperate for publicity, old-school Vegas magicians Burt Wonderstone (Steve Carrell) and Anton Marvelton (Steve Buscemi) decide to spend a week locked inside a plexiglass box suspended over the Vegas strip. 'Remember,' advises their assistant Jane (Olivia Wilde), 'all you have to do is nothing.'
It's a funny line, but one also suspects it was the production motto for 'The Incredible Burt Wonderstone,' a movie that always seems poised to deliver big laughs but, once the smoke and the pigeons clear, leaves you only with a mild chuckle or two.
The film falls squarely into the formula that Will Ferrell popularized - let's find something dorky and look at characters who take it totally seriously - but 'Burt Wonderstone' can't decide if it wants to bury glitzy, cornball, Vegas-style magic or to praise it, resulting in a comedy that occasionally talks tough but ultimately reveals a bland, mushy center.
Our hero is introduced as an unpopular, bullied child; Lyle Workman's score goes into minor-key overdrive when poor little Albert (Mason Cook) gets beaten up on his birthday, only to come home to an empty house, a note from his working mom, a box of cake mix and one present. But that present turns out to be a magic kit endorsed by the legendary Rance Holloway (Alan Arkin), and the kid is hooked. (Any resemblance between Rance Holloway and Harry Blackstone Sr. is entirely intentional.)
Magic not only stimulates Albert's imagination, it's a way for him to bond with fellow outcast Anton, and the two become inseparable. A few decades later, they're headlining in Vegas with a show that spotlights their 'Magical Friendship' - except that off-stage, they're hardly speaking. Burt has become absurdly vain and pompous, and their show, while still popular, is stale and repetitive.
Stealing their spotlight is Steve Gray (Jim Carrey), a 'street magician' of the David Blaine-Criss Angel school, and while his shtick is more about self-mortification and less a matter of prestidigitation, audiences go wild for his TV show, 'Mind Rape.' Which leads to the Plexiglass-box incident, and after that goes awry, Anton leaves the act, leaving Burt to try to do the same show by himself, with no one filling in the other half of the dialogue.
Canned by hotel mogul Doug Munny (James Gandolfini), Burt is reduced to living in a shabby motel and entertaining at an old folks' home. (There's no transition from top of the heap to bottom of the barrel; the words 'Reno,' 'Laughlin' and 'Branson' are never spoken.) Will a chance encounter with the aged Rance Holloway help Burt get his magical mojo back?
Take a wild guess. Obviously, in a movie like this, it's about the journey and not the destination, but screenwriters Jonathan Goldstein and John Francis Daley ('Horrible Bosses') and director Don Scardino keep the proceedings mild when they could be wild. Worse, they assign each character one or two defining traits, and then we see them indulge those flaws over and over and over again until they're not remotely funny anymore.
Carrell and Carrey are operating in their wheelhouses with these absurd showmen, but they're hemmed in by the script's limited parameters and they quickly grow tedious. Their redundant cartoonishness becomes so wearying that Wilde and Arkin wind up stealing the movie by underplaying.
We know from 'The Prestige' and any number of other movies about magic that illusion is all about what you do while you're distracting the audience. It's too easy to look right through 'The Incredible Burt Wonderstone,' which means it can never really dazzle us.
Wednesday, March 13, 2013
"Veronica Mars" movie? It could happen - thanks to Kickstarter
By Brent Lang
LOS ANGELES (TheWrap.com) - Fans have been craving a 'Veronica Mars' big-screen adventure ever since the cult series finished up its CW run six years ago.
Thanks to the power of crowd-sourcing, the youthful sleuth so memorably played by Kristen Bell may finally make her movie debut.
Bell and creator Rob Thomas have launched a Kickstarter page with the goal of raising $2 million in a month. If they get it, they say that Warner Bros., which owns the rights to the series, has agreed to pick up the cost of marketing and distribution if they're able to show enough fan interest.
'I am currently the happiest blonde in a hamster ball the world has ever seen,' Bell writes on the Kickstarter page. 'We have been waiting so long to make this movie dream a movie reality, and it's because of YOUR commitment, YOUR persistence, that we finally have a chance. We just have one more step to go. You have banded together like the sassy little honey badgers you are and made this possibility happen.'
And she promises that 'if we hit our goal, we will make the sleuthiest, snarkiest, it's-all-fun-and-games-'til-one-of-you-gets-my-foot-up-your-ass movie we possibly can.'\
For the uninitiated, the noirish 'Veronica Mars' followed an aspiring private investigator through high school and later college as she was tutored in the art of deduction by her detective father. It was never a ratings blockbuster, but it did inspire a passionate following.
Thomas said that if the goal is reached, the movie will be shot over the summer and post-production will happen in the fall, with a 2014 release date. Backers of the film will get digital copies within days of its release.
To entice fans to open their wallets, the 'Veronica Mars' team is promising set visits, premiere tickets, DVDs of the show's first three seasons and video greetings and voicemails from the cast. The size of the gift is dependent on the size of the donation.
So far it seems to be working. In less than 24 hours, the project has raised more than $400,000 from more than 5,000 backers.
LOS ANGELES (TheWrap.com) - Fans have been craving a 'Veronica Mars' big-screen adventure ever since the cult series finished up its CW run six years ago.
Thanks to the power of crowd-sourcing, the youthful sleuth so memorably played by Kristen Bell may finally make her movie debut.
Bell and creator Rob Thomas have launched a Kickstarter page with the goal of raising $2 million in a month. If they get it, they say that Warner Bros., which owns the rights to the series, has agreed to pick up the cost of marketing and distribution if they're able to show enough fan interest.
'I am currently the happiest blonde in a hamster ball the world has ever seen,' Bell writes on the Kickstarter page. 'We have been waiting so long to make this movie dream a movie reality, and it's because of YOUR commitment, YOUR persistence, that we finally have a chance. We just have one more step to go. You have banded together like the sassy little honey badgers you are and made this possibility happen.'
And she promises that 'if we hit our goal, we will make the sleuthiest, snarkiest, it's-all-fun-and-games-'til-one-of-you-gets-my-foot-up-your-ass movie we possibly can.'\
For the uninitiated, the noirish 'Veronica Mars' followed an aspiring private investigator through high school and later college as she was tutored in the art of deduction by her detective father. It was never a ratings blockbuster, but it did inspire a passionate following.
Thomas said that if the goal is reached, the movie will be shot over the summer and post-production will happen in the fall, with a 2014 release date. Backers of the film will get digital copies within days of its release.
To entice fans to open their wallets, the 'Veronica Mars' team is promising set visits, premiere tickets, DVDs of the show's first three seasons and video greetings and voicemails from the cast. The size of the gift is dependent on the size of the donation.
So far it seems to be working. In less than 24 hours, the project has raised more than $400,000 from more than 5,000 backers.
Tuesday, March 12, 2013
Baz Luhrmann's "The Great Gatsby" to open Cannes film festival
LONDON (Reuters) - Australian director Baz Luhrmann's 'The Great Gatsby' will open the 2013 Cannes film festival, the world's most important cinema showcase, organizers said on Tuesday.
The adaptation of F. Scott Fitzgerald's account of 'Roaring Twenties' America combines serious literary heritage and A-list star power, with Leonardo DiCaprio in the lead role.
DiCaprio will make an appearance at the festival on the famous Croisette waterfront for the first time since 2007.
The opening gala, preceded by a glitzy red carpet fashion parade and followed by parties along the palm-lined Riviera, will also be attended by Bollywood star Amitabh Bachchan and U.S. rapper Jay-Z.
'It is a great honor for all those who have worked on The Great Gatsby to open the Cannes film festival,' Luhrmann, whose first film Strictly Ballroom was screened there 21 years ago, said in a statement.
'F. Scott Fitzgerald wrote some of the most poignant and beautiful passages of his extraordinary novel just a short distance away at a villa outside St. Raphael,' he added.
DiCaprio plays Jay Gatsby in the 3D movie, Carey Mulligan is Daisy Buchanan and Tobey Maguire is Nick Carraway, the narrator.
The festival runs from May 15 to 26 and U.S. director Steven Spielberg is head of this year's jury.
Last year's winner of the coveted Palme d'Or for best picture was Austrian filmmaker Michael Haneke for the drama Amour.
(Reporting by Mike Collett-White; Editing by Erica Billingham)
The adaptation of F. Scott Fitzgerald's account of 'Roaring Twenties' America combines serious literary heritage and A-list star power, with Leonardo DiCaprio in the lead role.
DiCaprio will make an appearance at the festival on the famous Croisette waterfront for the first time since 2007.
The opening gala, preceded by a glitzy red carpet fashion parade and followed by parties along the palm-lined Riviera, will also be attended by Bollywood star Amitabh Bachchan and U.S. rapper Jay-Z.
'It is a great honor for all those who have worked on The Great Gatsby to open the Cannes film festival,' Luhrmann, whose first film Strictly Ballroom was screened there 21 years ago, said in a statement.
'F. Scott Fitzgerald wrote some of the most poignant and beautiful passages of his extraordinary novel just a short distance away at a villa outside St. Raphael,' he added.
DiCaprio plays Jay Gatsby in the 3D movie, Carey Mulligan is Daisy Buchanan and Tobey Maguire is Nick Carraway, the narrator.
The festival runs from May 15 to 26 and U.S. director Steven Spielberg is head of this year's jury.
Last year's winner of the coveted Palme d'Or for best picture was Austrian filmmaker Michael Haneke for the drama Amour.
(Reporting by Mike Collett-White; Editing by Erica Billingham)
Sunday, March 10, 2013
Disney's "Oz" prequel scores box office gold
LOS ANGELES (Reuters) - Walt Disney Co's 'Oz the Great and Powerful' dominated movie theaters with an estimated $80.3 million in U.S. and Canadian ticket sales during the weekend, making it the biggest film debut of 2013.
'Oz' stars James Franco as a small-time magician who is whisked to a magical land and mistaken for a wizard. The $200 million, effects-filled movie is a prequel to the 1939 Hollywood classic 'The Wizard of Oz.'
In the No. 2 spot, adventure film 'Jack the Giant Slayer' earned $10 million during its second weekend in theaters, according to studio estimates. Comedy 'Identity Thief' starring Melissa McCarthy took third place with $6.3 million.
Warner Bros., a unit of Time Warner Inc, released 'Jack the Giant Slayer.' 'Identity Thief' was distributed by Universal Pictures, a unit of Comcast Corp.
(Reporting by Lisa Richwine and Andrea Burzynski; Editing by Bill Trott)
'Oz' stars James Franco as a small-time magician who is whisked to a magical land and mistaken for a wizard. The $200 million, effects-filled movie is a prequel to the 1939 Hollywood classic 'The Wizard of Oz.'
In the No. 2 spot, adventure film 'Jack the Giant Slayer' earned $10 million during its second weekend in theaters, according to studio estimates. Comedy 'Identity Thief' starring Melissa McCarthy took third place with $6.3 million.
Warner Bros., a unit of Time Warner Inc, released 'Jack the Giant Slayer.' 'Identity Thief' was distributed by Universal Pictures, a unit of Comcast Corp.
(Reporting by Lisa Richwine and Andrea Burzynski; Editing by Bill Trott)
Beatles' secretary, "Good Ol' Freda," breaks silence in film
AUSTIN, Texas (Reuters) - For Freda Kelly, secretary to the Beatles and head of the band's fan club, work sometimes involved trailing the Fab Four to the barber shop, sweeping their locks from the floor and mailing strands of hair to adoring female fans.
Kelly, one of the Beatles' longest-serving employees, worked for the British band for more than a decade but had never shared her stories publicly until now.
She breaks her silence in a new documentary, 'Good Ol' Freda,' which had its world premiere on Saturday on the second day of the South by Southwest Film Festival in Austin.
'It's such a classic Cinderella story: Girl picks the job of a lifetime,' director Ryan White told Reuters.
The tale is sure to delight fans of the Beatles, but White seeks to tell a story that transcends that audience, a story about an amazing decade in an otherwise ordinary life.
The film features four Beatles songs, which required the permission of many people, including the two surviving Beatles. It also includes never-before-seen photos of the band.
The documentary's title comes from the Beatles' 1963 Christmas recording, in which George Harrison thanks their secretary in Liverpool, and they all yell, 'Good Ol' Freda!'
A mutual friend and a family connection to the 1960s' Liverpool music scene brought Kelly to the attention of White, who took the opportunity to tell her story.
The Los Angeles filmmaker, 31, who co-directed and produced the 2010 soccer documentary 'Pelada,' grew up knowing Kelly as a family friend who was a secretary. In fact, she is still a secretary, for a Liverpool law firm.
'I didn't know that she had a crazy back story,' White said, adding he only discovered it when a friend put them in touch two years ago.
Kelly, now in her late 60s, says in the film that she wanted to record her stories for her 2-year-old grandson - stories that in many cases she never got around to telling her family.
Kelly, described by White as shy and humble, insists in the documentary that no one would be interested in hearing her story.
'I WAS A FAN MYSELF'
The loyal secretary, who was 17 when she started working for the band, has no intention of dishing dirt about her former famous employers, so White focused instead on her compelling personal narrative and interactions with the Beatles.
Kelly arranged bookings, cut paychecks and stayed up all night responding to fan mail. At the height of Beatlemania, the band received 2,000 to 3,000 letters a day, she said.
The Beatles - Harrison, Paul McCartney, John Lennon and Ringo Starr - became the most famous pop band in history. They entered the Guinness Book of World Records in 2001 as the world's best-selling group, with more than 1 billion records sold.
'The amount of personal attention and true affection that she served the Beatles' fans with - teenage girls, mostly - will probably go unmatched throughout music history,' White said.
Kelly was briefly fired by Lennon after she arrived late before a show because she had been having drinks with an opening band. The secretary convinced Lennon to get down on his knee and beg her to stay.
'Freda was like part of the family,' Starr says in the film as the closing credits roll.
Kelly closed down the Beatles' fan club offices after the band broke up in 1970, taking with her boxes of autographs, photos and memorabilia. She did not sell them, instead giving them away to fans over the years, White said.
Kelly, who attended Saturday's premiere and answered questions from audience members, says in the film that she did anything she could for club members.
'I was one of them,' Kelly says. 'I was a fan myself.'
(Editing by Peter Cooney)
Kelly, one of the Beatles' longest-serving employees, worked for the British band for more than a decade but had never shared her stories publicly until now.
She breaks her silence in a new documentary, 'Good Ol' Freda,' which had its world premiere on Saturday on the second day of the South by Southwest Film Festival in Austin.
'It's such a classic Cinderella story: Girl picks the job of a lifetime,' director Ryan White told Reuters.
The tale is sure to delight fans of the Beatles, but White seeks to tell a story that transcends that audience, a story about an amazing decade in an otherwise ordinary life.
The film features four Beatles songs, which required the permission of many people, including the two surviving Beatles. It also includes never-before-seen photos of the band.
The documentary's title comes from the Beatles' 1963 Christmas recording, in which George Harrison thanks their secretary in Liverpool, and they all yell, 'Good Ol' Freda!'
A mutual friend and a family connection to the 1960s' Liverpool music scene brought Kelly to the attention of White, who took the opportunity to tell her story.
The Los Angeles filmmaker, 31, who co-directed and produced the 2010 soccer documentary 'Pelada,' grew up knowing Kelly as a family friend who was a secretary. In fact, she is still a secretary, for a Liverpool law firm.
'I didn't know that she had a crazy back story,' White said, adding he only discovered it when a friend put them in touch two years ago.
Kelly, now in her late 60s, says in the film that she wanted to record her stories for her 2-year-old grandson - stories that in many cases she never got around to telling her family.
Kelly, described by White as shy and humble, insists in the documentary that no one would be interested in hearing her story.
'I WAS A FAN MYSELF'
The loyal secretary, who was 17 when she started working for the band, has no intention of dishing dirt about her former famous employers, so White focused instead on her compelling personal narrative and interactions with the Beatles.
Kelly arranged bookings, cut paychecks and stayed up all night responding to fan mail. At the height of Beatlemania, the band received 2,000 to 3,000 letters a day, she said.
The Beatles - Harrison, Paul McCartney, John Lennon and Ringo Starr - became the most famous pop band in history. They entered the Guinness Book of World Records in 2001 as the world's best-selling group, with more than 1 billion records sold.
'The amount of personal attention and true affection that she served the Beatles' fans with - teenage girls, mostly - will probably go unmatched throughout music history,' White said.
Kelly was briefly fired by Lennon after she arrived late before a show because she had been having drinks with an opening band. The secretary convinced Lennon to get down on his knee and beg her to stay.
'Freda was like part of the family,' Starr says in the film as the closing credits roll.
Kelly closed down the Beatles' fan club offices after the band broke up in 1970, taking with her boxes of autographs, photos and memorabilia. She did not sell them, instead giving them away to fans over the years, White said.
Kelly, who attended Saturday's premiere and answered questions from audience members, says in the film that she did anything she could for club members.
'I was one of them,' Kelly says. 'I was a fan myself.'
(Editing by Peter Cooney)
Saturday, March 9, 2013
Jim Carrey, Steve Carell bring "Burt Wonderstone" magic to SXSW
AUSTIN, Texas (Reuters) - Comedians Jim Carrey and Steve Carell brought a touch of magic to the opening day of the South by Southwest Conferences & Festivals in Austin, Texas on Friday, with the premiere of their new film 'The Incredible Burt Wonderstone.'
'Burt Wonderstone,' out in U.S. theaters on March 15, tells the tale of childhood friends Burt (Carell) and Anton (Steve Buscemi) who bond over their love of magic, growing up to become a world-famous magician duo.
They soon find their skills and friendship tested in a constantly evolving world of magic and entertainment, as audiences demand something new with the arrival of edgy illusionist Steve Gray (Carrey).
Carrey, decked out in a red jacket and silver shoes on Friday's red carpet, said that despite playing a magician, he resented magic. 'I've always had this weird relationship with magic. I think it's fascinating and yet it annoys me because I can't figure it out,' Carrey said.
The funnyman was joined by co-stars Carell, who wore jeans, and Olivia Wilde, who wore a striped navy and white dress and signed autographs for fans.
Carell said he learned a bit of magic for the tricks that were shown up close in the film. 'Some of those things you just can't fake,' Carell said on the red carpet.
Inside the historic Paramount Theatre in downtown Austin, audience members laughed loudly throughout the film, and the stars answered their questions afterward.
Carell told the audience his character's orangey glow was achieved through weekly spray-tanning. He said it wasn't until the final days of shooting that he realized that only his face and chest showed in the film, meaning he had gotten repeatedly sprayed from head to toe for 'no reason whatsoever.'
The world premiere marked the opening of the film portion of South by Southwest, where creative types from all over the world converge in the Texas capital to swap ideas about film, music and technology.
SXSW, which began as a music event in 1987, runs for 10 days. The Interactive portion runs March 8-12, and the Music portion runs March 12-17. Film events run until March 16.
More than 60,000 people registered for SXSW conferences last year, and SXSW officials estimate the growth for 2013 to be in the 5-8 percent range.
Featured speakers at this year's SXSW include former Vice President Al Gore, actor Matthew McConaughey, retired basketball star Shaquille O'Neal and Dave Grohl, the former Nirvana drummer who founded the Foo Fighters.
Headliner films include the world premiere of 'Evil Dead,' starring Jane Levy and Shiloh Fernandez, while Green Day, Depeche Mode and the Yeah Yeah Yeahs are among the musical performers slated.
(Reporting By Corrie MacLaggan; Writing by Piya Sinha-Roy; Editing by Todd Eastham)
'Burt Wonderstone,' out in U.S. theaters on March 15, tells the tale of childhood friends Burt (Carell) and Anton (Steve Buscemi) who bond over their love of magic, growing up to become a world-famous magician duo.
They soon find their skills and friendship tested in a constantly evolving world of magic and entertainment, as audiences demand something new with the arrival of edgy illusionist Steve Gray (Carrey).
Carrey, decked out in a red jacket and silver shoes on Friday's red carpet, said that despite playing a magician, he resented magic. 'I've always had this weird relationship with magic. I think it's fascinating and yet it annoys me because I can't figure it out,' Carrey said.
The funnyman was joined by co-stars Carell, who wore jeans, and Olivia Wilde, who wore a striped navy and white dress and signed autographs for fans.
Carell said he learned a bit of magic for the tricks that were shown up close in the film. 'Some of those things you just can't fake,' Carell said on the red carpet.
Inside the historic Paramount Theatre in downtown Austin, audience members laughed loudly throughout the film, and the stars answered their questions afterward.
Carell told the audience his character's orangey glow was achieved through weekly spray-tanning. He said it wasn't until the final days of shooting that he realized that only his face and chest showed in the film, meaning he had gotten repeatedly sprayed from head to toe for 'no reason whatsoever.'
The world premiere marked the opening of the film portion of South by Southwest, where creative types from all over the world converge in the Texas capital to swap ideas about film, music and technology.
SXSW, which began as a music event in 1987, runs for 10 days. The Interactive portion runs March 8-12, and the Music portion runs March 12-17. Film events run until March 16.
More than 60,000 people registered for SXSW conferences last year, and SXSW officials estimate the growth for 2013 to be in the 5-8 percent range.
Featured speakers at this year's SXSW include former Vice President Al Gore, actor Matthew McConaughey, retired basketball star Shaquille O'Neal and Dave Grohl, the former Nirvana drummer who founded the Foo Fighters.
Headliner films include the world premiere of 'Evil Dead,' starring Jane Levy and Shiloh Fernandez, while Green Day, Depeche Mode and the Yeah Yeah Yeahs are among the musical performers slated.
(Reporting By Corrie MacLaggan; Writing by Piya Sinha-Roy; Editing by Todd Eastham)
Thursday, March 7, 2013
Disney ups box-office ante on "Oz" with massive foreign rollout
LOS ANGELES (TheWrap.com) - Domestic box-office projections for the debut weekend of 'Oz the Great and Powerful' are going as high as $85 million, and Disney's prequel to the 1939 classic could do even better than that overseas.
The studio will roll out its 3D CGI extravaganza in nearly every major foreign territory this weekend - France comes next week, China on March 29 - and analysts say it could exceed its domestic haul at the international box office. It debuts Thursday in 27 territories, including Russia, Germany, Australia, South Korea and Italy. By Friday it will be in 46 markets, including openings in the U.K., Japan, Mexico, Spain and Brazil.
The domestic and foreign debuts make this first weekend critical for Disney, which has very much front-loaded its box-office gamble on 'Oz,' which carries a $200 million production budget and a marketing budget at least half that size.
Disney's head of distribution Dave Hollis acknowledged that the stakes are high.
'With the Disney brand and an iconic, revered property like this, of course it's a big bet,' Hollis told TheWrap. 'But when you ally yourself with filmmakers like Sam Raimi and Robert Stromberg, you reduce some of the risks. We feel really good about this.'
Raimi, director of the first three 'Spider-Man' movies, is at the helm of 'Oz.' James Franco stars as a circus magician sucked via tornado to Oz, where the residents mistake him for a wizard who will free them from the wicked witches. Mila Kunis, Michelle Williams and Rachel Weisz co-star.
Stromberg is the production designer, and had the same role on the film most often compared with 'Oz,' the similarly big-budget and effects-laden 'Alice in Wonderland.' That Disney film starred Johnny Depp and made more than $1 billion in 2010, with the vast majority - $690 million - coming from abroad.
As a literary work, 'Alice in Wonderland' is more well-known globally than 'The Wizard of Oz,' a very American property. But even 'John Carter,' the mega-budget sci-fi adventure flop that resulted in a $200 million write down for Disney last year, took in $209 million overseas, compared to $73 million domestically.
'I think 'Oz' is a much better bet to open with $100 million overseas than in the U.S.,' Exhibitor Relations senior vice-president and senior analyst Jeff Bock told TheWrap.
'Oz' will debut Friday in 3,912 North American theaters. Around 3,055 of those will be 3D, and 307 will be Imax theaters, both of which will be charging premium prices.
Families - who largely steered clear of Warner Bros.' similarly pricey CGI epic 'Jack the Giant Slayer' last week - are expected to turn out in force for 'Oz.' Its PG rating will help there, though parents should know there are some intense moments - heightened by the 3D - that caused at least one 5-year-old to jump into her father's lap three times during a screening.
TheWrap's reviewer Alonso Duralde loved it, but 'Oz' has only a lukewarm 62 percent positive rating on Rotten Tomatoes (the more telling number there may be the 99 percent 'want to see' figure). Movie Review Intelligence has it at 54 percent positive.
'Oz' has accounted for nearly 80 percent of the presales at online ticket broker Fandango this week and, in a positive sign for Disney, 66 percent of those responding to a survey on the site said they would bring their families.
'Oz the Great and Powerful' isn't the only movie opening this week.
Colin Farrell and Noomi Rapace ('Prometheus') star in Film District's neo-noir revenge thriller 'Dead Man Down.' Farrell plays a man who has infiltrated the crime empire run by a ruthless kingpin (Terence Howard) for his own very definite reasons, while his neighbor (Rapace) wants his help to carry out her own plans for retribution.
Danish filmmaker Niels Arden Oplev, who directed Rapace in the original 'Girl With the Dragon Tattoo,' makes his U.S. debut on the film.
Farrell's has underwhelmed in his last two outings as a leading man. 'Seven Psychopaths' was a critical fave but opened to just $4 million in October and topped out at $28 million for CBS Films. And no one forgot Arnold Schwarzenegger after Farrell's turn in last summer's 'Total Recall' remake, which slogged to a $59 million domestic total for Sony.
J.H. Wyman (TV's 'Fringe') wrote the screenplay and produced via Frequency Films with Neal H. Moritz's Original Film. IM Global financed the $30 million movie. Film District has the R-rated thriller in 2,188 theaters and projections are for an opening in the $5 million range.
On the specialty front, Roadside Attractions is rolling out director Peter Webber's historical war drama 'Emperor,' which stars Tommy Lee Jones, Matthew Fox and rising Japanese star Eriko Hatsune.
Set in post-World War II Japan, during the American occupation, the PG-13 rated 'Emperor' is based on the real-life drama behind the decision of whether to try Emperor Hirohito for war crimes. Jones plays Gen. Douglas MacArthur - the de facto ruler of Japan - and Fox plays Gen. Bonner Fellers, who lead the investigation of Hirohito.
It will be in 259 theaters, mostly in the top 75 markets.
IFC Films will debut the drama 'Beyond the Hills,' Romania's nominee for the Best Foreign Language Oscar, in three theaters.
The film is directed by Cristian Munglu and stars Cristina Flutur and Cosmina Stratan as two young women at an Orthodox convent in Romania. It premiered at Cannes last year where Munglu won the award for best screenplay and Flutur and Stratan shared best actress honors.
Cinedigm is releasing 'Don't Stop Believin': Everyman's Journey' in 20 theaters nationwide. It's a documentary on Arnel Pineda, who was plucked from YouTube to become the new singer for the rock band Journey.
The 'ABCs of Death' is an anthology horror film from Magnolia Pictures produced by Ant Timpson and Tim League that will debut in about 20 theaters. It's made up of 26 different shorts, each by different directors, all dealing with death. It premiered at last year's Toronto Film Festival and has been out on video on demand since January.
The studio will roll out its 3D CGI extravaganza in nearly every major foreign territory this weekend - France comes next week, China on March 29 - and analysts say it could exceed its domestic haul at the international box office. It debuts Thursday in 27 territories, including Russia, Germany, Australia, South Korea and Italy. By Friday it will be in 46 markets, including openings in the U.K., Japan, Mexico, Spain and Brazil.
The domestic and foreign debuts make this first weekend critical for Disney, which has very much front-loaded its box-office gamble on 'Oz,' which carries a $200 million production budget and a marketing budget at least half that size.
Disney's head of distribution Dave Hollis acknowledged that the stakes are high.
'With the Disney brand and an iconic, revered property like this, of course it's a big bet,' Hollis told TheWrap. 'But when you ally yourself with filmmakers like Sam Raimi and Robert Stromberg, you reduce some of the risks. We feel really good about this.'
Raimi, director of the first three 'Spider-Man' movies, is at the helm of 'Oz.' James Franco stars as a circus magician sucked via tornado to Oz, where the residents mistake him for a wizard who will free them from the wicked witches. Mila Kunis, Michelle Williams and Rachel Weisz co-star.
Stromberg is the production designer, and had the same role on the film most often compared with 'Oz,' the similarly big-budget and effects-laden 'Alice in Wonderland.' That Disney film starred Johnny Depp and made more than $1 billion in 2010, with the vast majority - $690 million - coming from abroad.
As a literary work, 'Alice in Wonderland' is more well-known globally than 'The Wizard of Oz,' a very American property. But even 'John Carter,' the mega-budget sci-fi adventure flop that resulted in a $200 million write down for Disney last year, took in $209 million overseas, compared to $73 million domestically.
'I think 'Oz' is a much better bet to open with $100 million overseas than in the U.S.,' Exhibitor Relations senior vice-president and senior analyst Jeff Bock told TheWrap.
'Oz' will debut Friday in 3,912 North American theaters. Around 3,055 of those will be 3D, and 307 will be Imax theaters, both of which will be charging premium prices.
Families - who largely steered clear of Warner Bros.' similarly pricey CGI epic 'Jack the Giant Slayer' last week - are expected to turn out in force for 'Oz.' Its PG rating will help there, though parents should know there are some intense moments - heightened by the 3D - that caused at least one 5-year-old to jump into her father's lap three times during a screening.
TheWrap's reviewer Alonso Duralde loved it, but 'Oz' has only a lukewarm 62 percent positive rating on Rotten Tomatoes (the more telling number there may be the 99 percent 'want to see' figure). Movie Review Intelligence has it at 54 percent positive.
'Oz' has accounted for nearly 80 percent of the presales at online ticket broker Fandango this week and, in a positive sign for Disney, 66 percent of those responding to a survey on the site said they would bring their families.
'Oz the Great and Powerful' isn't the only movie opening this week.
Colin Farrell and Noomi Rapace ('Prometheus') star in Film District's neo-noir revenge thriller 'Dead Man Down.' Farrell plays a man who has infiltrated the crime empire run by a ruthless kingpin (Terence Howard) for his own very definite reasons, while his neighbor (Rapace) wants his help to carry out her own plans for retribution.
Danish filmmaker Niels Arden Oplev, who directed Rapace in the original 'Girl With the Dragon Tattoo,' makes his U.S. debut on the film.
Farrell's has underwhelmed in his last two outings as a leading man. 'Seven Psychopaths' was a critical fave but opened to just $4 million in October and topped out at $28 million for CBS Films. And no one forgot Arnold Schwarzenegger after Farrell's turn in last summer's 'Total Recall' remake, which slogged to a $59 million domestic total for Sony.
J.H. Wyman (TV's 'Fringe') wrote the screenplay and produced via Frequency Films with Neal H. Moritz's Original Film. IM Global financed the $30 million movie. Film District has the R-rated thriller in 2,188 theaters and projections are for an opening in the $5 million range.
On the specialty front, Roadside Attractions is rolling out director Peter Webber's historical war drama 'Emperor,' which stars Tommy Lee Jones, Matthew Fox and rising Japanese star Eriko Hatsune.
Set in post-World War II Japan, during the American occupation, the PG-13 rated 'Emperor' is based on the real-life drama behind the decision of whether to try Emperor Hirohito for war crimes. Jones plays Gen. Douglas MacArthur - the de facto ruler of Japan - and Fox plays Gen. Bonner Fellers, who lead the investigation of Hirohito.
It will be in 259 theaters, mostly in the top 75 markets.
IFC Films will debut the drama 'Beyond the Hills,' Romania's nominee for the Best Foreign Language Oscar, in three theaters.
The film is directed by Cristian Munglu and stars Cristina Flutur and Cosmina Stratan as two young women at an Orthodox convent in Romania. It premiered at Cannes last year where Munglu won the award for best screenplay and Flutur and Stratan shared best actress honors.
Cinedigm is releasing 'Don't Stop Believin': Everyman's Journey' in 20 theaters nationwide. It's a documentary on Arnel Pineda, who was plucked from YouTube to become the new singer for the rock band Journey.
The 'ABCs of Death' is an anthology horror film from Magnolia Pictures produced by Ant Timpson and Tim League that will debut in about 20 theaters. It's made up of 26 different shorts, each by different directors, all dealing with death. It premiered at last year's Toronto Film Festival and has been out on video on demand since January.
Ford, Fisher, Hamill in talks for new "Star Wars": source
LOS ANGELES (Reuters) - 'Star Wars' original cast members Harrison Ford, Carrie Fisher and Mark Hamill are in talks to join the next installment of the science-fiction franchise, a person with knowledge of plans for the new film told Reuters on Thursday.
The source, who spoke on condition of anonymity, said lawyers had the contracts for all three actors and that an announcement would be made soon.
Representatives for Ford, who played Han Solo in the first three films, declined to comment.
Reuters was unable to reach representatives for Hamill, who played Luke Skywalker from 1977 to 1983.
Fisher, who played Princess Leia in the first 'Star Wars' trilogy, got the rumor mills buzzing this week after saying she would reprise her role in the new film, due in theaters in 2015, in an interview with U.S. magazine Palm Beach Illustrated.
Fisher's spokeswoman, Carol Marshall, would not comment to Reuters on Fisher's involvement in the upcoming film.
Disney bought George Lucas' Lucasfilm company in October 2012 for $4.05 billion, and announced three new installments of the widely popular 'Star Wars' franchise, which has grossed more than $4.4 billion at the global box office.
Fans of the franchise have been eager to know whether any of the original cast members would be back.
Bloomberg Businessweek on Thursday first reported in an interview with Lucas that the trio were in negotiations to join the new film.
Lucasfilm spokeswoman Lynn Hale was unable to confirm whether all three stars would be returning for 'Star Wars: Episode VII.'
The new film will be helmed by 'Star Trek' director J.J. Abrams, and will be written by Oscar-winning screenwriter Michael Arndt.
(Reporting By Eric Kelsey and Ronald Grover, additional reporting by Piya Sinha-Roy; Editing by Doina Chiacu)
The source, who spoke on condition of anonymity, said lawyers had the contracts for all three actors and that an announcement would be made soon.
Representatives for Ford, who played Han Solo in the first three films, declined to comment.
Reuters was unable to reach representatives for Hamill, who played Luke Skywalker from 1977 to 1983.
Fisher, who played Princess Leia in the first 'Star Wars' trilogy, got the rumor mills buzzing this week after saying she would reprise her role in the new film, due in theaters in 2015, in an interview with U.S. magazine Palm Beach Illustrated.
Fisher's spokeswoman, Carol Marshall, would not comment to Reuters on Fisher's involvement in the upcoming film.
Disney bought George Lucas' Lucasfilm company in October 2012 for $4.05 billion, and announced three new installments of the widely popular 'Star Wars' franchise, which has grossed more than $4.4 billion at the global box office.
Fans of the franchise have been eager to know whether any of the original cast members would be back.
Bloomberg Businessweek on Thursday first reported in an interview with Lucas that the trio were in negotiations to join the new film.
Lucasfilm spokeswoman Lynn Hale was unable to confirm whether all three stars would be returning for 'Star Wars: Episode VII.'
The new film will be helmed by 'Star Trek' director J.J. Abrams, and will be written by Oscar-winning screenwriter Michael Arndt.
(Reporting By Eric Kelsey and Ronald Grover, additional reporting by Piya Sinha-Roy; Editing by Doina Chiacu)
Tuesday, March 5, 2013
Tom Cruise sci-fi movie "Oblivion" Imax release pushed back a week
LOS ANGELES (TheWrap.com) - Universal Pictures has pushed the Imax release date for the Tom Cruise sci-fi movie 'Oblivion' from April 12 to April 19, the studio announced Tuesday.
The shift allows Universal to maximize Cruise's international publicity efforts, expanding in several territories overseas where the film starts rolling out the weekend of April 12 and returning in time to promote the film in the U.S.
The shift also gives the 3D re-release of 'Jurassic Park' an additional weekend to play in Imax theaters before 'Oblivion' movies in.
The April 19 date puts 'Oblivion' up against 'jOBS,' the Steve Jobs biopic starring Ashton Kutcher from Open Road Pictures.
The shift allows Universal to maximize Cruise's international publicity efforts, expanding in several territories overseas where the film starts rolling out the weekend of April 12 and returning in time to promote the film in the U.S.
The shift also gives the 3D re-release of 'Jurassic Park' an additional weekend to play in Imax theaters before 'Oblivion' movies in.
The April 19 date puts 'Oblivion' up against 'jOBS,' the Steve Jobs biopic starring Ashton Kutcher from Open Road Pictures.
Actor James Franco protests Australian ban of gay film
SYDNEY (Reuters) - Actor James Franco, star of Disney's new film 'Oz the Great and Powerful', has launched an online appeal after censors banned a gay film from screening at Australian film festivals.
The film 'I Want Your Love,' by director Travis Mathews, is the story of a gay man who has sex with his best friend while partying in Los Angeles. It has been screened at the Toronto LGBT Film Festival and other overseas festivals.
But the Australian Classification Board refused to exempt the film from classification rules to allow its screening at the Melbourne Queer Film Festival in March and the Brisbane Queer Film Festival in April, citing 'explicit sexual activity'.
Franco, 34, who co-directed a bondage film with Mathews that was shown at this year's Sundance Film Festival in the United States, said the ban was 'hypocritical' as sex was used in a sophisticated way in the film.
'This is such a disappointment to me and it just seems really silly,' Franco said in YouTube video that notched up more than 17,000 views on Tuesday.
'Sex is such a big part of our lives .. it's how we create children, it's how we connect ... I don't think we'd be having this conversation if he'd made a very violent film.'
Australian Classification Board officials said an application was made to exempt the film from classification under rules specific to film festivals but it ruled against this due to the content of the film.
'In this case, the film contains detailed and prolonged scenes of actual explicit sexual activity,' board officials said in a statement.
Lisa Daniel, festival director of the Melbourne Queer Film Festival, said the move was embarrassing for Australia.
'It just makes us look like a cultural backwater, I think. It's pretty embarrassing given the film has screened all over the world and never been banned before,' she said.
Franco backed Mathew's petition to the Australian Classification Board to review its decision and allow the film. He collaborated with Mathews on the bondage film 'Interior. Leather Bar'.
'Frankly adults should be able to choose,' said Franco, who plays the Wizard of Oz in the new blockbuster Disney movie.
'They're not going in blind. I don't know why in this day in age something like this, a film that's using sex not for titillation but to talk about being human, is being banned,' she said.
(Reporting by Thuy Ong, editing by Elaine Lies and Belinda Goldsmith)
The film 'I Want Your Love,' by director Travis Mathews, is the story of a gay man who has sex with his best friend while partying in Los Angeles. It has been screened at the Toronto LGBT Film Festival and other overseas festivals.
But the Australian Classification Board refused to exempt the film from classification rules to allow its screening at the Melbourne Queer Film Festival in March and the Brisbane Queer Film Festival in April, citing 'explicit sexual activity'.
Franco, 34, who co-directed a bondage film with Mathews that was shown at this year's Sundance Film Festival in the United States, said the ban was 'hypocritical' as sex was used in a sophisticated way in the film.
'This is such a disappointment to me and it just seems really silly,' Franco said in YouTube video that notched up more than 17,000 views on Tuesday.
'Sex is such a big part of our lives .. it's how we create children, it's how we connect ... I don't think we'd be having this conversation if he'd made a very violent film.'
Australian Classification Board officials said an application was made to exempt the film from classification under rules specific to film festivals but it ruled against this due to the content of the film.
'In this case, the film contains detailed and prolonged scenes of actual explicit sexual activity,' board officials said in a statement.
Lisa Daniel, festival director of the Melbourne Queer Film Festival, said the move was embarrassing for Australia.
'It just makes us look like a cultural backwater, I think. It's pretty embarrassing given the film has screened all over the world and never been banned before,' she said.
Franco backed Mathew's petition to the Australian Classification Board to review its decision and allow the film. He collaborated with Mathews on the bondage film 'Interior. Leather Bar'.
'Frankly adults should be able to choose,' said Franco, who plays the Wizard of Oz in the new blockbuster Disney movie.
'They're not going in blind. I don't know why in this day in age something like this, a film that's using sex not for titillation but to talk about being human, is being banned,' she said.
(Reporting by Thuy Ong, editing by Elaine Lies and Belinda Goldsmith)
Will pricey "Oz" stay on track after "Jack" got whacked at box office?
LOS ANGELES (TheWrap.com) - If the box office were baseball, Warner Bros and Disney would be sluggers, the kind of hitters that hush the crowd, take a mighty rip and then hit it out of the park.
Or strike out. That whooshing sound you heard over the weekend was WB swinging and missing with its costly and effects-laden fairy tale 'Jack the Giant Slayer.' Next up, Disney, with its own pricey CGI fantasy, 'The Great and Powerful Oz.,' which opens Friday.
When you spend about $200 million producing a movie - and half that much more marketing it - as they did on 'Jack' and 'Oz,' you're not looking for a single or a double. You're looking for a home run. Or even a grand slam, like the one Disney and Marvel hit last year with 'The Avengers.' It not only made $1.5 billion at the box office, it will bring in further billions to Disney over the next years via merchandising, rights deals and sequels.
These two studios have had more mega-budget hits than any others. They dominate the list of the biggest global earners - each has seven films in the top 20 - and the biggest budgets, with each having four in the top ten.
They both know their way around the blockbuster when it comes to fantasy, too.
Disney has scored big with its $3.7 billion 'Pirates of the Caribbean' franchise and 'Alice in Wonderland,' which made $1 billion in 2010. Warner Bros. and New Line are behind the 'Harry Potter' and Lord of the Rings' franchises, which have taken in $7.7 billion and $3.9 billion respectively. 'The Hobbit: An Unexpected Journey' just crossed the $1 billion worldwide mark this weekend.
The high-risk, high-reward strategy is a part of two studios' DNA at this point and both know that striking out with one of these mega-productions can affect the corporate bottom line for months. Disney had to write down $200 million when 'John Carter' tanked last March and Warners will find out just how big a toll 'Jack' will take on the bottom line once it's completed its foreign run.
The misfire on 'Jack' was an anomaly for Warner Bros., and few were surprised when it came in with such a soft opening. Most observers knew 'Jack' was way too long in development (it was launched in 2005), switched directors four years into the process and then traded a summer release date last year for this past weekend.
Comparisons between 'Oz' and 'Jack' seem inevitable because of their budgets, fantasy themes and most of all, the proximity of their release dates. Advance tracking shows 'Oz' heading for an opening far better - with maybe $70 million - than the $27 million 'Jack' managed.
But with that $200 million budget, it's no lock that 'Oz,' which stars James Franco, will wind up a major money earner.
Selling the movie going public on a redo - make that a prequel - of what may be America's most beloved movie ever, 'The Wizard of Oz,' is by nature tricky. And ironically, the fact that Warner Bros. controls the rights to the original 1939 film complicates things for Disney. In marketing the film, it can't use certain 'iconic imagery' - the ruby slippers, for example - either in the movie or the promotional materials.
Even if 'Oz' does pull off an opening in line with its strong tracking, it will be nowhere in the range of last year's March hit, 'The Hunger Games,' and that's bad news for an overall box office that has started the year very poorly.
Last year, with Jennifer Lawrence as Katniss Eberdeen, Lionsgate opened the action fantasy (budget: $78 million) to $150 million. Weeks earlier, Universal had debuted its animated paean to ecology, 'The Lorax,' to a stunning $70 million, and those two drove the March 2012 box office to a record $940 million.
DreamWorks Animation has 'The Croods' opening on March 22nd and Paramount brings in 'G.I. Joe: Retaliation' on March 29th, but this month won't match last March. With Universal's 'Identity Thief' still the year's only $100 million movie, the total domestic box office in February was $617 million, according to Box Office Mojo. That's 24 percent down from last year.
For the year, the box office is down roughly 13 percent from 2012, and barring a major surprise, it's going to get worse before it gets better.
But Jeff Goldstein, Warner Bros. executive vice president of domestic distribution, didn't sound discouraged.
'There's no mystery as to why the box office is down,' Goldstein said. 'It's the movies. They just haven't done it for audiences, but that's the saving grace, too. A couple of hits and things will be back on track.'
Or strike out. That whooshing sound you heard over the weekend was WB swinging and missing with its costly and effects-laden fairy tale 'Jack the Giant Slayer.' Next up, Disney, with its own pricey CGI fantasy, 'The Great and Powerful Oz.,' which opens Friday.
When you spend about $200 million producing a movie - and half that much more marketing it - as they did on 'Jack' and 'Oz,' you're not looking for a single or a double. You're looking for a home run. Or even a grand slam, like the one Disney and Marvel hit last year with 'The Avengers.' It not only made $1.5 billion at the box office, it will bring in further billions to Disney over the next years via merchandising, rights deals and sequels.
These two studios have had more mega-budget hits than any others. They dominate the list of the biggest global earners - each has seven films in the top 20 - and the biggest budgets, with each having four in the top ten.
They both know their way around the blockbuster when it comes to fantasy, too.
Disney has scored big with its $3.7 billion 'Pirates of the Caribbean' franchise and 'Alice in Wonderland,' which made $1 billion in 2010. Warner Bros. and New Line are behind the 'Harry Potter' and Lord of the Rings' franchises, which have taken in $7.7 billion and $3.9 billion respectively. 'The Hobbit: An Unexpected Journey' just crossed the $1 billion worldwide mark this weekend.
The high-risk, high-reward strategy is a part of two studios' DNA at this point and both know that striking out with one of these mega-productions can affect the corporate bottom line for months. Disney had to write down $200 million when 'John Carter' tanked last March and Warners will find out just how big a toll 'Jack' will take on the bottom line once it's completed its foreign run.
The misfire on 'Jack' was an anomaly for Warner Bros., and few were surprised when it came in with such a soft opening. Most observers knew 'Jack' was way too long in development (it was launched in 2005), switched directors four years into the process and then traded a summer release date last year for this past weekend.
Comparisons between 'Oz' and 'Jack' seem inevitable because of their budgets, fantasy themes and most of all, the proximity of their release dates. Advance tracking shows 'Oz' heading for an opening far better - with maybe $70 million - than the $27 million 'Jack' managed.
But with that $200 million budget, it's no lock that 'Oz,' which stars James Franco, will wind up a major money earner.
Selling the movie going public on a redo - make that a prequel - of what may be America's most beloved movie ever, 'The Wizard of Oz,' is by nature tricky. And ironically, the fact that Warner Bros. controls the rights to the original 1939 film complicates things for Disney. In marketing the film, it can't use certain 'iconic imagery' - the ruby slippers, for example - either in the movie or the promotional materials.
Even if 'Oz' does pull off an opening in line with its strong tracking, it will be nowhere in the range of last year's March hit, 'The Hunger Games,' and that's bad news for an overall box office that has started the year very poorly.
Last year, with Jennifer Lawrence as Katniss Eberdeen, Lionsgate opened the action fantasy (budget: $78 million) to $150 million. Weeks earlier, Universal had debuted its animated paean to ecology, 'The Lorax,' to a stunning $70 million, and those two drove the March 2012 box office to a record $940 million.
DreamWorks Animation has 'The Croods' opening on March 22nd and Paramount brings in 'G.I. Joe: Retaliation' on March 29th, but this month won't match last March. With Universal's 'Identity Thief' still the year's only $100 million movie, the total domestic box office in February was $617 million, according to Box Office Mojo. That's 24 percent down from last year.
For the year, the box office is down roughly 13 percent from 2012, and barring a major surprise, it's going to get worse before it gets better.
But Jeff Goldstein, Warner Bros. executive vice president of domestic distribution, didn't sound discouraged.
'There's no mystery as to why the box office is down,' Goldstein said. 'It's the movies. They just haven't done it for audiences, but that's the saving grace, too. A couple of hits and things will be back on track.'
Sunday, March 3, 2013
No box office killing for big-budget "Jack the Giant Slayer"
(Reuters) - 'Jack the Giant Slayer,' the first big-budget action film of the year, was anything but a killer at the weekend box office.
'Jack,' a retelling of the 'Jack and the Beanstalk' fairy tale, earned the No. 1 spot on domestic box office charts with $28 million in ticket sales in U.S. and Canadian theaters, according to studio estimates compiled by Reuters on Sunday.
But that was an underwhelming start for a 3D movie that cost $189 million to produce, plus tens of millions more to market.
'Jack the Giant Slayer' also grossed $13.7 million from 1,824 screens in 10 Asian markets.
Comedy 'Identity Thief' took in $9.7 million to capture second place, and new adult comedy '21 and Over' finished in third place on domestic charts with $9 million in ticket sales from Friday through Sunday.
Low-budget horror sequel 'The Last Exorcism Part II' took the No. 4 slot with $8 million, according to studio estimates.
'Jack' clearly was not a great opening by any means, said Phil Contrino, vice president/chief analyst with Boxoffice.com.
'But I wouldn't rush to call the film a financial flop just yet because overseas growth can really save a movie, and I feel that this is a movie that could do really well in other territories and make up for the fact that the North American haul was a little bit underwhelming.'
The movie stars Nicholas Hoult as a young farmer who ventures into the land of the giants to save a kidnapped princess. The film received a mixed reception from critics. As of Friday, 49 percent of reviews recommended the movie on aggregation website Rotten Tomatoes.
Warner Bros. believes 'Jack' will perform well in overseas markets as it opens in more countries in the coming weeks. International sales, particularly for action movies, can run twice as high or more.
'It was within the range of our expectations,' Jeff Goldstein, vice president theatrical distributions at Warner Bros., said about the film's domestic weekend performance.
'We know that this is a global picture and the technology and the special effects will really drive this movie internationally,' he added.
Global takings helped to push 'The Hobbit: An Unexpected Journey' over the billion dollar milestone at the worldwide box office during the weekend, making it only the 15th film in history to achieve the feat.
'We could not be more proud to have reached this amazing benchmark,' Dan Fellman, president of domestic distribution of Warner Bros. Pictures, said in a statement on Sunday.
MAKING BACK ITS BUDGET
'Jack the Giant Slayer' was produced by Time Warner Inc-owned Warner Brothers and Legendary Entertainment, which partnered with Warner on hits including 'The Dark Knight' trilogy and 'The Hangover' series.
Two of last year's films with bigger budgets flopped - Walt Disney Co's $250 million Mars epic 'John Carter' and the $209 million action movie 'Battleship' from Comcast Corp's Universal Pictures - forcing the companies to acknowledge financial losses.
'John Carter,' released in March last year, opened with $30.2 million, according to Box Office Mojo.
Janney Montgomery Scott analyst Tony Wible, who compiles a database to project film performance, had estimated 'Jack' would need to open with at least $25 million at U.S. and Canadian theaters to make back its budget, not including marketing costs.
'21 and Over,' produced for $13 million, is a college party comedy about three friends who celebrate a 21st birthday on the night before a big exam. It was written by the screenwriters of 'The Hangover.'
The 'Last Exorcism' sequel follows the 2010 original about a minister who lets his demon-fighting be filmed by a documentary crew. In the new movie, the story resumes with the girl who was previously freed from an evil force running into more trouble. Distributor CBS Films, a unit of CBS Corp, acquired the sequel for about $3 million.
Rounding out the top five films was 'Snitch,' which brought in $7.7 million.
Another new release, 'Phantom,' failed to finish in the top 10 performing films. The movie stars Ed Harris and David Duchovny in the story of a Soviet submarine captain leading a secret mission.
'Identity Thief' was released by Universal Pictures, a unit of Comcast. 'Snitch' was distributed by Summit Entertainment, a unit of Lions Gate Entertainment 'Phantom' was released by privately held RCR Distribution.
(Reporting By Lisa Richwine and Patricia Reaney; Editing by Bill Trott and Philip Barbara)
'Jack,' a retelling of the 'Jack and the Beanstalk' fairy tale, earned the No. 1 spot on domestic box office charts with $28 million in ticket sales in U.S. and Canadian theaters, according to studio estimates compiled by Reuters on Sunday.
But that was an underwhelming start for a 3D movie that cost $189 million to produce, plus tens of millions more to market.
'Jack the Giant Slayer' also grossed $13.7 million from 1,824 screens in 10 Asian markets.
Comedy 'Identity Thief' took in $9.7 million to capture second place, and new adult comedy '21 and Over' finished in third place on domestic charts with $9 million in ticket sales from Friday through Sunday.
Low-budget horror sequel 'The Last Exorcism Part II' took the No. 4 slot with $8 million, according to studio estimates.
'Jack' clearly was not a great opening by any means, said Phil Contrino, vice president/chief analyst with Boxoffice.com.
'But I wouldn't rush to call the film a financial flop just yet because overseas growth can really save a movie, and I feel that this is a movie that could do really well in other territories and make up for the fact that the North American haul was a little bit underwhelming.'
The movie stars Nicholas Hoult as a young farmer who ventures into the land of the giants to save a kidnapped princess. The film received a mixed reception from critics. As of Friday, 49 percent of reviews recommended the movie on aggregation website Rotten Tomatoes.
Warner Bros. believes 'Jack' will perform well in overseas markets as it opens in more countries in the coming weeks. International sales, particularly for action movies, can run twice as high or more.
'It was within the range of our expectations,' Jeff Goldstein, vice president theatrical distributions at Warner Bros., said about the film's domestic weekend performance.
'We know that this is a global picture and the technology and the special effects will really drive this movie internationally,' he added.
Global takings helped to push 'The Hobbit: An Unexpected Journey' over the billion dollar milestone at the worldwide box office during the weekend, making it only the 15th film in history to achieve the feat.
'We could not be more proud to have reached this amazing benchmark,' Dan Fellman, president of domestic distribution of Warner Bros. Pictures, said in a statement on Sunday.
MAKING BACK ITS BUDGET
'Jack the Giant Slayer' was produced by Time Warner Inc-owned Warner Brothers and Legendary Entertainment, which partnered with Warner on hits including 'The Dark Knight' trilogy and 'The Hangover' series.
Two of last year's films with bigger budgets flopped - Walt Disney Co's $250 million Mars epic 'John Carter' and the $209 million action movie 'Battleship' from Comcast Corp's Universal Pictures - forcing the companies to acknowledge financial losses.
'John Carter,' released in March last year, opened with $30.2 million, according to Box Office Mojo.
Janney Montgomery Scott analyst Tony Wible, who compiles a database to project film performance, had estimated 'Jack' would need to open with at least $25 million at U.S. and Canadian theaters to make back its budget, not including marketing costs.
'21 and Over,' produced for $13 million, is a college party comedy about three friends who celebrate a 21st birthday on the night before a big exam. It was written by the screenwriters of 'The Hangover.'
The 'Last Exorcism' sequel follows the 2010 original about a minister who lets his demon-fighting be filmed by a documentary crew. In the new movie, the story resumes with the girl who was previously freed from an evil force running into more trouble. Distributor CBS Films, a unit of CBS Corp, acquired the sequel for about $3 million.
Rounding out the top five films was 'Snitch,' which brought in $7.7 million.
Another new release, 'Phantom,' failed to finish in the top 10 performing films. The movie stars Ed Harris and David Duchovny in the story of a Soviet submarine captain leading a secret mission.
'Identity Thief' was released by Universal Pictures, a unit of Comcast. 'Snitch' was distributed by Summit Entertainment, a unit of Lions Gate Entertainment 'Phantom' was released by privately held RCR Distribution.
(Reporting By Lisa Richwine and Patricia Reaney; Editing by Bill Trott and Philip Barbara)
Saturday, March 2, 2013
Richard Burton immortalized in Hollywood next to Taylor
LOS ANGELES (Reuters) - British actor Richard Burton finally received a star on the Hollywood Walk of Fame next to that of his two-time wife, Elizabeth Taylor, on Friday, nearly 30 years after his death.
Welsh-born Burton, who died in 1984, received the career honor as part of the 50th anniversary of ancient Egypt movie drama 'Cleopatra,' in which he and co-star Taylor began their storied and tumultuous love affair.
The couple's adopted daughter, Maria Burton, accepted the honor of the iconic terrazzo and brass star along Hollywood Boulevard in the historical heart of the U.S. film industry.
Burton was nominated for an Oscar seven times between 1953 and 1978 but never won the prize.
Actor and fellow Welshman Michael Sheen spoke at the unveiling and recalled the awe he felt when Burton and Taylor, one of Hollywood's most famous couples, visited the village where Sheen grew up.
'The same beach that I built my boyhood sand castles (on) and learned to failingly swim - it was that same beach, that one legendary day, Richard Burton and Elizabeth Taylor descended from the heavens, like gods from Olympus, in a helicopter ... and landed on those sands,' Sheen said.
'They stepped out swathed in luxurious fur coats - it was the '70s - and walked among us for too short a time,' he added.
Burton, whose star is the 2,941th installed, starred in 11 films with Taylor, including 'Who's Afraid of Virginia Woolf?' in 1966 and 'The Taming of the Shrew' in 1967.
The couple's scandalous love affair during 1964's 'Cleopatra' was made into a U.S. television movie 'Liz & Dick,' starring Lindsay Lohan, last year.
Burton and Taylor wed for the first time in 1964 and divorced in 1974. They remarried the following year, but that marriage lasted just nine months.
Burton, who was born Richard Jenkins, was married five times and died in 1984 from a cerebral hemorrhage at age 58. Taylor, who married eight times, died in 2011 at age 79.
(Reporting by Alan Devall; Writing by Eric Kelsey; Editing by Jill Serjeant and Sandra Maler)
Welsh-born Burton, who died in 1984, received the career honor as part of the 50th anniversary of ancient Egypt movie drama 'Cleopatra,' in which he and co-star Taylor began their storied and tumultuous love affair.
The couple's adopted daughter, Maria Burton, accepted the honor of the iconic terrazzo and brass star along Hollywood Boulevard in the historical heart of the U.S. film industry.
Burton was nominated for an Oscar seven times between 1953 and 1978 but never won the prize.
Actor and fellow Welshman Michael Sheen spoke at the unveiling and recalled the awe he felt when Burton and Taylor, one of Hollywood's most famous couples, visited the village where Sheen grew up.
'The same beach that I built my boyhood sand castles (on) and learned to failingly swim - it was that same beach, that one legendary day, Richard Burton and Elizabeth Taylor descended from the heavens, like gods from Olympus, in a helicopter ... and landed on those sands,' Sheen said.
'They stepped out swathed in luxurious fur coats - it was the '70s - and walked among us for too short a time,' he added.
Burton, whose star is the 2,941th installed, starred in 11 films with Taylor, including 'Who's Afraid of Virginia Woolf?' in 1966 and 'The Taming of the Shrew' in 1967.
The couple's scandalous love affair during 1964's 'Cleopatra' was made into a U.S. television movie 'Liz & Dick,' starring Lindsay Lohan, last year.
Burton and Taylor wed for the first time in 1964 and divorced in 1974. They remarried the following year, but that marriage lasted just nine months.
Burton, who was born Richard Jenkins, was married five times and died in 1984 from a cerebral hemorrhage at age 58. Taylor, who married eight times, died in 2011 at age 79.
(Reporting by Alan Devall; Writing by Eric Kelsey; Editing by Jill Serjeant and Sandra Maler)
Friday, March 1, 2013
Actress Jennifer Lawrence's "Silver Linings" clothes fetch $12,000
LOS ANGELES (Reuters) - Clothing worn by Jennifer Lawrence in her Oscar-winning role as an outspoken young widow in 'Silver Linings Playbook' beat expectations by taking in about $12,000 at auction.
The wool, full-length winter coat worn by Lawrence in the Oscar-nominated comedy topped all items, selling for $4,652 in the three-day online auction, Los Angeles auction house Nate D. Sanders said on Friday.
The memorabilia dealer had expected the items to fetch between $500 and $1,500 each following the 22-year-old's Best Actress win at the Academy Awards on Sunday.
Lawrence also won awards from the Golden Globe and Screen Actors Guild in January for her 'Silver Linings Playbook' performance.
The custom-tailored white pants Lawrence wore during the film's climactic ballroom dance scene with co-star Bradley Cooper went for $3,493, and a package of a teal sports bra and blue long-sleeved shirt sold for $3,175.
A black tank top from Lawrence's wardrobe, but not worn in the film, fetched $624.
Movie studios often hand off costumes to auction houses, where even small outfits can bring in high prices from fans and collectors.
(Reporting by Eric Kelsey; Editing by Jill Serjeant and Xavier Briand)
The wool, full-length winter coat worn by Lawrence in the Oscar-nominated comedy topped all items, selling for $4,652 in the three-day online auction, Los Angeles auction house Nate D. Sanders said on Friday.
The memorabilia dealer had expected the items to fetch between $500 and $1,500 each following the 22-year-old's Best Actress win at the Academy Awards on Sunday.
Lawrence also won awards from the Golden Globe and Screen Actors Guild in January for her 'Silver Linings Playbook' performance.
The custom-tailored white pants Lawrence wore during the film's climactic ballroom dance scene with co-star Bradley Cooper went for $3,493, and a package of a teal sports bra and blue long-sleeved shirt sold for $3,175.
A black tank top from Lawrence's wardrobe, but not worn in the film, fetched $624.
Movie studios often hand off costumes to auction houses, where even small outfits can bring in high prices from fans and collectors.
(Reporting by Eric Kelsey; Editing by Jill Serjeant and Xavier Briand)
Balloon blitz promotes Disney's 'Oz,' studio franchise strategy
LOS ANGELES (Reuters) - A bright blue hot-air balloon whisked James Franco to the premiere of his new Walt Disney Co movie, 'Oz the Great and Powerful,' delivering the star to Hollywood Boulevard where he walked an emerald green carpet with a yellow-brick road into the El Capitan Theatre.
The high-flying, and headline-grabbing, entrance last month was the signature event of a Disney marketing blitz on major TV broadcasts, social media and at Disney parks to stoke interest in 'Oz,' a $200 million production that is its first release of an expensive 2013 film slate. It debuts in theaters March 8.
The 3D 'Oz' also debuts the first full year of Disney CEO Bob Iger's strategy of investing in films with hefty budgets that the media giant can turn into 'brands' that bring in box office receipts, spawn movie sequels, drive toy sales and inspire theme-park rides.
After 'Oz' lands in theaters, the Burbank-based company scheduled three movies with budgets of more than $185 million for release through July 3, which is when it expects to unveil the $225 million film 'The Lone Ranger,' starring Johnny Depp as the masked man's sidekick Tonto.
'If anyone else tried it, it would be a very risky strategy,' said Peter Sealey, former head of marketing at Columbia Pictures and founder of The Sausalito Group.
'They're the only ones who could do it, based on the breadth of their company, the movies they have and their ability to squeeze money out of any film they make,' Sealey added. 'I wouldn't be surprised if they don't have an Oz ride opening next week in Orlando.'
Following 'Oz,' Disney is scheduled to release on May 3 the third installment of its Marvel unit's giant hit 'Iron Man' movies starring Robert Downey Jr. On June 21, it debuts 'Monsters University,' a 'prequel' to Pixar's 2001 blockbuster 'Monsters, Inc.' that generated $562 million in worldwide tickets sales.
The Disney version of 'Oz' is a prequel to the 1939 classic 'The Wizard of Oz' and tells the story a small-time magician played by Franco who is mistaken for a wizard and becomes the leader of the land of munchkins and witches.
'Oz' looks like a hit, said Phil Contrino, chief analyst for Boxoffice.com. He projects U.S. and Canadian ticket sales of $65 million over the first three days, placing it among the industry's biggest March openings.
Nostalgia surrounding the original film will help bring families to theaters, he said.
'Look at success of 'Wicked' on Broadway,' he said. 'People are open to the idea of the 'Wizard of Oz' being played around with and new approaches taken.'
Disney is taking no chances, and is spending up to $100 million on marketing to supplement nostalgia. The company launched a New Year's campaign with a social media sweepstakes urging fans to tweet resolutions with the #DisneyOz hashtag.
The 'Oz' hot-air balloon, emblazoned with #DisneyOZ, made stops at the Disneyland theme park in Anaheim, California, and the Daytona 500, where Franco was grand marshal. It is heading to Central Park next week and an appearance on 'Good Morning America' on Disney-owned ABC.
Television promotions for the film have been hard to miss. Disney ran a pricey commercial during the CBS telecast of the Super Bowl. It also enlisted Mariah Carey to sing a song from the film on Fox singing contest 'American Idol,' according to producer Joe Roth.
On ABC's 'The Bachelor,' host Chris Harrison interrupted the dating competition to introduce a brief appearance by Michelle Williams, Mila Kunis and Rachel Weisz, the actresses who play the film's three witches. A pair of Dorothy's red slippers from the original 'Wizard of Oz' made an appearance at ABC's Academy Awards broadcast in a glass case, which was covered until red carpet host Kristin Chenoweth unveiled it.
Disney experienced the expensive downside of its big-budget film strategy last year, when the $250 million film 'John Carter' became one of Hollywood's costliest flops, saddling Disney's studio with an operating loss of $84 million for the fiscal second quarter.
Only a couple months later, Disney saw the other side of releasing a big-budget movie when Marvel superhero mashup 'The Avengers' recorded the biggest domestic debut of all time and earned more than $1.5 billion around the world.
After 'John Carter' bombed, Disney named a new studio head, Alan Horn, a former Warner Bros. executive with a record of success managing 'Harry Potter,' 'The Dark Knight' and other major film franchises.
It also geared up its vaunted marketing machine, partnering with the HSN shopping network on an Oz-inspired fashion line and setting up a 'Land of Oz' garden at Epcot, on top of the millions it spent elsewhere.
'You have to hand it to Disney,' said Jeff Bock, box office analyst at Exhibitor Relations Co. 'They do go all out. They're going to spend $200 or $250 million on these productions and make a real spectacle.'
(Reporting by Lisa Richwine; Editing by Lisa Shumaker)
The high-flying, and headline-grabbing, entrance last month was the signature event of a Disney marketing blitz on major TV broadcasts, social media and at Disney parks to stoke interest in 'Oz,' a $200 million production that is its first release of an expensive 2013 film slate. It debuts in theaters March 8.
The 3D 'Oz' also debuts the first full year of Disney CEO Bob Iger's strategy of investing in films with hefty budgets that the media giant can turn into 'brands' that bring in box office receipts, spawn movie sequels, drive toy sales and inspire theme-park rides.
After 'Oz' lands in theaters, the Burbank-based company scheduled three movies with budgets of more than $185 million for release through July 3, which is when it expects to unveil the $225 million film 'The Lone Ranger,' starring Johnny Depp as the masked man's sidekick Tonto.
'If anyone else tried it, it would be a very risky strategy,' said Peter Sealey, former head of marketing at Columbia Pictures and founder of The Sausalito Group.
'They're the only ones who could do it, based on the breadth of their company, the movies they have and their ability to squeeze money out of any film they make,' Sealey added. 'I wouldn't be surprised if they don't have an Oz ride opening next week in Orlando.'
Following 'Oz,' Disney is scheduled to release on May 3 the third installment of its Marvel unit's giant hit 'Iron Man' movies starring Robert Downey Jr. On June 21, it debuts 'Monsters University,' a 'prequel' to Pixar's 2001 blockbuster 'Monsters, Inc.' that generated $562 million in worldwide tickets sales.
The Disney version of 'Oz' is a prequel to the 1939 classic 'The Wizard of Oz' and tells the story a small-time magician played by Franco who is mistaken for a wizard and becomes the leader of the land of munchkins and witches.
'Oz' looks like a hit, said Phil Contrino, chief analyst for Boxoffice.com. He projects U.S. and Canadian ticket sales of $65 million over the first three days, placing it among the industry's biggest March openings.
Nostalgia surrounding the original film will help bring families to theaters, he said.
'Look at success of 'Wicked' on Broadway,' he said. 'People are open to the idea of the 'Wizard of Oz' being played around with and new approaches taken.'
Disney is taking no chances, and is spending up to $100 million on marketing to supplement nostalgia. The company launched a New Year's campaign with a social media sweepstakes urging fans to tweet resolutions with the #DisneyOz hashtag.
The 'Oz' hot-air balloon, emblazoned with #DisneyOZ, made stops at the Disneyland theme park in Anaheim, California, and the Daytona 500, where Franco was grand marshal. It is heading to Central Park next week and an appearance on 'Good Morning America' on Disney-owned ABC.
Television promotions for the film have been hard to miss. Disney ran a pricey commercial during the CBS telecast of the Super Bowl. It also enlisted Mariah Carey to sing a song from the film on Fox singing contest 'American Idol,' according to producer Joe Roth.
On ABC's 'The Bachelor,' host Chris Harrison interrupted the dating competition to introduce a brief appearance by Michelle Williams, Mila Kunis and Rachel Weisz, the actresses who play the film's three witches. A pair of Dorothy's red slippers from the original 'Wizard of Oz' made an appearance at ABC's Academy Awards broadcast in a glass case, which was covered until red carpet host Kristin Chenoweth unveiled it.
Disney experienced the expensive downside of its big-budget film strategy last year, when the $250 million film 'John Carter' became one of Hollywood's costliest flops, saddling Disney's studio with an operating loss of $84 million for the fiscal second quarter.
Only a couple months later, Disney saw the other side of releasing a big-budget movie when Marvel superhero mashup 'The Avengers' recorded the biggest domestic debut of all time and earned more than $1.5 billion around the world.
After 'John Carter' bombed, Disney named a new studio head, Alan Horn, a former Warner Bros. executive with a record of success managing 'Harry Potter,' 'The Dark Knight' and other major film franchises.
It also geared up its vaunted marketing machine, partnering with the HSN shopping network on an Oz-inspired fashion line and setting up a 'Land of Oz' garden at Epcot, on top of the millions it spent elsewhere.
'You have to hand it to Disney,' said Jeff Bock, box office analyst at Exhibitor Relations Co. 'They do go all out. They're going to spend $200 or $250 million on these productions and make a real spectacle.'
(Reporting by Lisa Richwine; Editing by Lisa Shumaker)
Final movie in 'Hobbit' trilogy moves to December 2014
(Reuters) - The final installment of 'The Hobbit' film trilogy will be released on December 17, 2014, five months later than planned, Warner Bros. said on Thursday.
'The Hobbit: There and Back Again' had been set to debut in July 2014. It will follow 'The Hobbit: An Unexpected Journey,' which came out in December 2012, and 'The Hobbit: The Desolation of Smaug,' which reached theaters in December 2013.
'We're excited to complete the trilogy the same way we started it, as a holiday treat for moviegoers everywhere,' said Dan Fellman, president of distribution for Warner Bros., a unit of Time Warner Inc.
'The Hobbit' series is a prequel to J.R.R. Tolkien's epic fantasy 'The Lord of the Rings,' which director Peter Jackson made into three Oscar-winning films about a decade ago.
The first 'Hobbit' film was a blockbuster with global sales of $981 million, according to the Box Office Mojo website. The trilogy is financed by Warner Bros. New Line Cinema and MGM.
(Reporting By Lisa Richwine; Editing by Stacey Joyce)
'The Hobbit: There and Back Again' had been set to debut in July 2014. It will follow 'The Hobbit: An Unexpected Journey,' which came out in December 2012, and 'The Hobbit: The Desolation of Smaug,' which reached theaters in December 2013.
'We're excited to complete the trilogy the same way we started it, as a holiday treat for moviegoers everywhere,' said Dan Fellman, president of distribution for Warner Bros., a unit of Time Warner Inc.
'The Hobbit' series is a prequel to J.R.R. Tolkien's epic fantasy 'The Lord of the Rings,' which director Peter Jackson made into three Oscar-winning films about a decade ago.
The first 'Hobbit' film was a blockbuster with global sales of $981 million, according to the Box Office Mojo website. The trilogy is financed by Warner Bros. New Line Cinema and MGM.
(Reporting By Lisa Richwine; Editing by Stacey Joyce)
Thursday, February 28, 2013
Filmmaker Eli Roth returns for another "Last Exorcism"
LOS ANGELES (Reuters) - Movie audiences have flocked to filmmaker Eli Roth's low-budget horror productions like 'Cabin Fever' and 'Hostel.'
On Friday, 'The Last Exorcism Part II,' which Roth produced, will be released. It is the sequel to his 2010 movie about an evangelical minister who let a documentary crew film his last exorcism on a girl named Nell.
The 2010 film cost $1.8 million to make and grossed more than $67 million worldwide. The sequel follows Nell as she discovers that the evil force has returned.
Roth, 40, who is also a director, actor and writer, spoke to Reuters about the enduring appeal of films about possession.
Q: When you shot the first film, were there plans to make a sequel?
A: If we had thought about a sequel, we wouldn't have called the first movie the 'last' one. It made $20 million on opening weekend, which was a surprise. The financiers said, 'whenever you want to do another one, the financing is there for it.'
Q: The first film was filmed documentary-style, but the second was not. What was the thought process behind that?
A: We decided to make the sequel as a straight narrative. In the sequel, the first film exists as a viral video, floating out there on YouTube. So the characters in the sequel recognize Nell as being that girl who breaks her fingers, does her back bend and acts possessed.
Q: 'The Last Exorcism Part II' is set in New Orleans. Does the setting influence the film?
A: It's very much part of the story. It's Mardi Gras and Nell is going out and experiencing the world. But there is this thing still following her, this presence out there. So when you're seeing a creepy face, you don't know if it's a Mardi Gras character or if it's actually something quite sinister.
Q: 1973's 'The Exorcist' is the seminal film on exorcism and possession. Any film since then on the same topic inevitably draws comparisons. Did that weigh on your mind while making the film?
A: 'The Exorcist' came out almost 40 years ago. That was before (U.S. President) Jimmy Carter was in office! I love 'The Exorcist.' I think it's a masterpiece. But we're making a movie for today's 15-year-old kids. They want their own 'Exorcist,' not the ones their parents were into.
Q: There have been many recent films on this same topic, from 2005's 'The Exorcism of Emily Rose' to last year's 'The Devil Inside.' What is it that make audiences turn out for them?
A: Possession and exorcism is something that's in every religion and every culture. It's a real primal fear: Is the body a vessel for our spirits? What happens if something else takes over it? Where does the spirit go?
Also, there is a lot of unexplained evil in the world. People need to point the finger somewhere. You can point it at the devil, at evil. With the pope stepping down February 28, a lot of people feel that a gateway to evil will open up. They feel unprotected from evil without the pope there.
Q: Did the first film get any religious support or push back because of the subject matter?
A: Actually, we got a lot of church support because it was very much about faith, the battle between faith and science, and faith wins.
Q: Are there themes of faith in the sequel?
A: There is, but we loved the idea of what if this evil was following you and you actually started to embrace it? What would happen then?
Q: Have you ever met anyone that was possessed?
A: Yeah, I dated her for three months! For a long time I had a crazy girl dating habit. Thankfully, I've recently broken it.
(Reporting By Zorianna Kit; Editing by Jill Serjeant and Stacey Joyce)
On Friday, 'The Last Exorcism Part II,' which Roth produced, will be released. It is the sequel to his 2010 movie about an evangelical minister who let a documentary crew film his last exorcism on a girl named Nell.
The 2010 film cost $1.8 million to make and grossed more than $67 million worldwide. The sequel follows Nell as she discovers that the evil force has returned.
Roth, 40, who is also a director, actor and writer, spoke to Reuters about the enduring appeal of films about possession.
Q: When you shot the first film, were there plans to make a sequel?
A: If we had thought about a sequel, we wouldn't have called the first movie the 'last' one. It made $20 million on opening weekend, which was a surprise. The financiers said, 'whenever you want to do another one, the financing is there for it.'
Q: The first film was filmed documentary-style, but the second was not. What was the thought process behind that?
A: We decided to make the sequel as a straight narrative. In the sequel, the first film exists as a viral video, floating out there on YouTube. So the characters in the sequel recognize Nell as being that girl who breaks her fingers, does her back bend and acts possessed.
Q: 'The Last Exorcism Part II' is set in New Orleans. Does the setting influence the film?
A: It's very much part of the story. It's Mardi Gras and Nell is going out and experiencing the world. But there is this thing still following her, this presence out there. So when you're seeing a creepy face, you don't know if it's a Mardi Gras character or if it's actually something quite sinister.
Q: 1973's 'The Exorcist' is the seminal film on exorcism and possession. Any film since then on the same topic inevitably draws comparisons. Did that weigh on your mind while making the film?
A: 'The Exorcist' came out almost 40 years ago. That was before (U.S. President) Jimmy Carter was in office! I love 'The Exorcist.' I think it's a masterpiece. But we're making a movie for today's 15-year-old kids. They want their own 'Exorcist,' not the ones their parents were into.
Q: There have been many recent films on this same topic, from 2005's 'The Exorcism of Emily Rose' to last year's 'The Devil Inside.' What is it that make audiences turn out for them?
A: Possession and exorcism is something that's in every religion and every culture. It's a real primal fear: Is the body a vessel for our spirits? What happens if something else takes over it? Where does the spirit go?
Also, there is a lot of unexplained evil in the world. People need to point the finger somewhere. You can point it at the devil, at evil. With the pope stepping down February 28, a lot of people feel that a gateway to evil will open up. They feel unprotected from evil without the pope there.
Q: Did the first film get any religious support or push back because of the subject matter?
A: Actually, we got a lot of church support because it was very much about faith, the battle between faith and science, and faith wins.
Q: Are there themes of faith in the sequel?
A: There is, but we loved the idea of what if this evil was following you and you actually started to embrace it? What would happen then?
Q: Have you ever met anyone that was possessed?
A: Yeah, I dated her for three months! For a long time I had a crazy girl dating habit. Thankfully, I've recently broken it.
(Reporting By Zorianna Kit; Editing by Jill Serjeant and Stacey Joyce)
"Jack the Giant Slayer" Review: Fee-fie, ho-hum
LOS ANGELES (TheWrap.com) - Fee-fie, ho-hum.
'Jack the Giant Slayer' is only incrementally more fun than a spate of other recent action-fantasy movies based on classic fairy tales. It has too much of a whiff of the familiar to stand very tall.
This 3D 'Jack' follows in the once-upon-a-time footsteps of 'Red Riding Hood' (2011), 'Snow White and the Huntsman' (2012) and last month's 'Hansel & Gretel: Witch Hunters,' as well as 'The Hobbit: An Unexpected Journey' (2012).
It, too, offers a variation on an oft-told tale and peoples it with a mix of live actors and computer-generated digital monsters. ('Jack' was originally slated for a June 2012 release but was pushed back to 2013 early last year.)
'Jack' takes as its starting point the familiar story of 'Jack and the Beanstalk.' That's the one about the poor youth who accepts seemingly worthless beans for the family cow only to have the beans sprout into a towering beanstalk, with a nasty giant dwelling at its tippy-top.
In the movie, Jack (Nicholas Hoult) is an impecunious orphan living on a farm with his ill-tempered uncle when he acquires his magic beans. New to this 'Jack' is an adventure-seeking princess, Isabelle (Eleanor Tomlinson), who provides Jack with both a love interest and a reason to climb the beanstalk to fight the giants after they take her prisoner.
Yes, that's giants plural, as in hulking, slobbering, carnivorous masses of 'em, all turned on by the smell of nearby humans. 'Jack's' CG giants look and act like close relatives of the trolls seen in 'The Hobbit,' complete with similar bad dental work and questionable personal hygiene.
The movie cooks up a complicated back-story, told in a prologue, about the giants having come to earth way back when and a brave king repelling them and banishing them forever to their own kingdom high in the sky. That heroic king, it turns out, was an ancestor of Isabelle's.
The giants have been biding their time until they can exact their revenge and once more munch on humans. When Jack inadvertently drops a magic bean and a massive beanstalk takes root, giants and humans once again must match wits and weapons.
The movie is fitfully amusing, thanks to director Bryan Singer's ('X-Men' and 'Superman') obvious relish for his human performers. Stanley Tucci contributes a sneering turn as a power-hungry villain (is there any other kind?) and Ewan McGregor imbues his noble knight with Errol Flynn-like dash.
As the movie's hero and heroine, Hoult and Tomlinson are appealing but strike no special sparks. Brits Ian McShane, Eddie Marsan and Ewen Bremner also turn up in 'Jack,' as does Bill Nighy, who provides the voice for the dominant head of General Fallon, the two-headed leader of the giants.
The problem is that 'Jack' is never antic enough to be a true comedy or original enough in its action sequences to seem like more than a warmed over version of too many movies we've seen before.
The variations it works on the familiar fairy tale just aren't clever or revisionist enough to bewitch or cast much of a spell. This is popcorn entertainment originating from kernels that are more than a little stale.
Warning to parents: The PG-13 film is way too violent and scary - the giants enthusiastically bite the heads off of humans - to take small kids to see.
'Jack the Giant Slayer' is only incrementally more fun than a spate of other recent action-fantasy movies based on classic fairy tales. It has too much of a whiff of the familiar to stand very tall.
This 3D 'Jack' follows in the once-upon-a-time footsteps of 'Red Riding Hood' (2011), 'Snow White and the Huntsman' (2012) and last month's 'Hansel & Gretel: Witch Hunters,' as well as 'The Hobbit: An Unexpected Journey' (2012).
It, too, offers a variation on an oft-told tale and peoples it with a mix of live actors and computer-generated digital monsters. ('Jack' was originally slated for a June 2012 release but was pushed back to 2013 early last year.)
'Jack' takes as its starting point the familiar story of 'Jack and the Beanstalk.' That's the one about the poor youth who accepts seemingly worthless beans for the family cow only to have the beans sprout into a towering beanstalk, with a nasty giant dwelling at its tippy-top.
In the movie, Jack (Nicholas Hoult) is an impecunious orphan living on a farm with his ill-tempered uncle when he acquires his magic beans. New to this 'Jack' is an adventure-seeking princess, Isabelle (Eleanor Tomlinson), who provides Jack with both a love interest and a reason to climb the beanstalk to fight the giants after they take her prisoner.
Yes, that's giants plural, as in hulking, slobbering, carnivorous masses of 'em, all turned on by the smell of nearby humans. 'Jack's' CG giants look and act like close relatives of the trolls seen in 'The Hobbit,' complete with similar bad dental work and questionable personal hygiene.
The movie cooks up a complicated back-story, told in a prologue, about the giants having come to earth way back when and a brave king repelling them and banishing them forever to their own kingdom high in the sky. That heroic king, it turns out, was an ancestor of Isabelle's.
The giants have been biding their time until they can exact their revenge and once more munch on humans. When Jack inadvertently drops a magic bean and a massive beanstalk takes root, giants and humans once again must match wits and weapons.
The movie is fitfully amusing, thanks to director Bryan Singer's ('X-Men' and 'Superman') obvious relish for his human performers. Stanley Tucci contributes a sneering turn as a power-hungry villain (is there any other kind?) and Ewan McGregor imbues his noble knight with Errol Flynn-like dash.
As the movie's hero and heroine, Hoult and Tomlinson are appealing but strike no special sparks. Brits Ian McShane, Eddie Marsan and Ewen Bremner also turn up in 'Jack,' as does Bill Nighy, who provides the voice for the dominant head of General Fallon, the two-headed leader of the giants.
The problem is that 'Jack' is never antic enough to be a true comedy or original enough in its action sequences to seem like more than a warmed over version of too many movies we've seen before.
The variations it works on the familiar fairy tale just aren't clever or revisionist enough to bewitch or cast much of a spell. This is popcorn entertainment originating from kernels that are more than a little stale.
Warning to parents: The PG-13 film is way too violent and scary - the giants enthusiastically bite the heads off of humans - to take small kids to see.
Rolling Stones hope to play Glastonbury festival, Ronnie Wood says
LONDON (Reuters) - The Rolling Stones picked up two prizes at the NME Music Awards in London on Wednesday, and guitarist Ronnie Wood said the band hoped to play at Britain's Glastonbury music festival in June.
The Stones won for best live act and best film, and Wood was on hand to accept a pair of irreverent 'middle finger' statuettes.
The Stones returned to the stage in late 2012 to celebrate 50 years in business, and their sellout mini-tour of London and the United States was a hit with critics and fans.
Wood told Reuters Television he wanted to do more live shows, including playing Glastonbury.
'Keep your eye out because you know I want to do some more (live shows) and I know that the boys do too,' he said.
Asked about rumors the Stones could play at Glastonbury, one of the biggest European music festivals, for the first time in their long career, Wood replied:
'I want to do it badly, but I've no idea yet ... but I am just looking forward to. ... I know we're the best live, so I just hope we get it,' he said.
The lineup for the June 26-30 Glastonbury festival has not yet been announced.
The veteran British rock group - comprising Wood, Mick Jagger, Keith Richards and Charlie Watts - is one of four acts to be nominated four times for the annual NME awards, organized by NME music magazine.
As part of its golden jubilee celebrations, the band collaborated on the documentary film 'Crossfire Hurricane' recalling its meteoric rise to fame.
'Thanks #NMEAwards from me and the boys @RollingStones,' Wood tweeted from the event, where he also took to the stage and performed 'How Soon is Now' with former Smiths guitarist Johnny Marr, who was handed the 'Godlike Genius Award'.
'You can't imitate Johnny Marr,' said ex-Oasis guitarist and songwriter Noel Gallagher in a video message played at the awards ceremony. 'He's in a class of his own. He makes the very difficult look easy.'
The other multiple winner on the night was Florence Welch of Florence and the Machine.
She won best solo artist, despite collaborating with other musicians on her music, and best dance-floor anthem for 'Sweet Nothing'.
'I really didn't expect to get this again, especially because it's debatable whether I'm a solo artist,' Welch said after her first honor. 'Thanks to my band - it really is a collaborative thing.'
Other major awards included best British album, which went to The Maccabees for 'Given to the Wild', best track to the Foals for 'Inhaler', best new band to Palma Violets and best British band to Biffy Clyro.
The opening ceremony of the London Olympics in July 2012, directed by filmmaker Danny Boyle, was awarded music moment of the year and U.S. President Barack Obama was named NME's 'Hero of the Year'.
According to NME, more than 10 million votes were cast to decide the winners, the highest number to date.
Following is a list of the main winners of the NME Awards 2013:
BEST BRITISH BAND:
- Biffy Clyro
BEST ALBUM:
- 'Given To The Wild,' The Maccabees
BEST INTERNATIONAL BAND
- The Killers
BEST TRACK
- 'Inhaler,' Foals
BEST MUSIC FILM:
- The Rolling Stones: 'Crossfire Hurricane'
BEST SOLO ARTIST:
- Florence Welch
BEST NEW BAND:
- Palma Violets
BEST MUSIC VIDEO:
- 'R U Mine?,' Arctic Monkeys
BEST LIVE BAND:
- The Rolling Stones
BEST DANCEFLOOR ANTHEM:
- 'Sweet Nothing,' Calvin Harris featuring Florence Welch
MUSIC MOMENT OF THE YEAR:
- Olympics opening ceremony
HERO OF THE YEAR:
- Barack Obama
(Editing by Jill Serjeant and Peter Cooney)
The Stones won for best live act and best film, and Wood was on hand to accept a pair of irreverent 'middle finger' statuettes.
The Stones returned to the stage in late 2012 to celebrate 50 years in business, and their sellout mini-tour of London and the United States was a hit with critics and fans.
Wood told Reuters Television he wanted to do more live shows, including playing Glastonbury.
'Keep your eye out because you know I want to do some more (live shows) and I know that the boys do too,' he said.
Asked about rumors the Stones could play at Glastonbury, one of the biggest European music festivals, for the first time in their long career, Wood replied:
'I want to do it badly, but I've no idea yet ... but I am just looking forward to. ... I know we're the best live, so I just hope we get it,' he said.
The lineup for the June 26-30 Glastonbury festival has not yet been announced.
The veteran British rock group - comprising Wood, Mick Jagger, Keith Richards and Charlie Watts - is one of four acts to be nominated four times for the annual NME awards, organized by NME music magazine.
As part of its golden jubilee celebrations, the band collaborated on the documentary film 'Crossfire Hurricane' recalling its meteoric rise to fame.
'Thanks #NMEAwards from me and the boys @RollingStones,' Wood tweeted from the event, where he also took to the stage and performed 'How Soon is Now' with former Smiths guitarist Johnny Marr, who was handed the 'Godlike Genius Award'.
'You can't imitate Johnny Marr,' said ex-Oasis guitarist and songwriter Noel Gallagher in a video message played at the awards ceremony. 'He's in a class of his own. He makes the very difficult look easy.'
The other multiple winner on the night was Florence Welch of Florence and the Machine.
She won best solo artist, despite collaborating with other musicians on her music, and best dance-floor anthem for 'Sweet Nothing'.
'I really didn't expect to get this again, especially because it's debatable whether I'm a solo artist,' Welch said after her first honor. 'Thanks to my band - it really is a collaborative thing.'
Other major awards included best British album, which went to The Maccabees for 'Given to the Wild', best track to the Foals for 'Inhaler', best new band to Palma Violets and best British band to Biffy Clyro.
The opening ceremony of the London Olympics in July 2012, directed by filmmaker Danny Boyle, was awarded music moment of the year and U.S. President Barack Obama was named NME's 'Hero of the Year'.
According to NME, more than 10 million votes were cast to decide the winners, the highest number to date.
Following is a list of the main winners of the NME Awards 2013:
BEST BRITISH BAND:
- Biffy Clyro
BEST ALBUM:
- 'Given To The Wild,' The Maccabees
BEST INTERNATIONAL BAND
- The Killers
BEST TRACK
- 'Inhaler,' Foals
BEST MUSIC FILM:
- The Rolling Stones: 'Crossfire Hurricane'
BEST SOLO ARTIST:
- Florence Welch
BEST NEW BAND:
- Palma Violets
BEST MUSIC VIDEO:
- 'R U Mine?,' Arctic Monkeys
BEST LIVE BAND:
- The Rolling Stones
BEST DANCEFLOOR ANTHEM:
- 'Sweet Nothing,' Calvin Harris featuring Florence Welch
MUSIC MOMENT OF THE YEAR:
- Olympics opening ceremony
HERO OF THE YEAR:
- Barack Obama
(Editing by Jill Serjeant and Peter Cooney)
Wednesday, February 27, 2013
Tom Hardy, Solar Pictures developing project about post-traumatic stress disorder
NEW YORK (TheWrap.com) - Tom Hardy wants to play a British soldier suffering from post-traumatic stress disorder in 'Samarkand,' a project the actor is developing with Solar Pictures and Greg and Olly Williams, an individual with knowledge of the project told TheWrap.
The Williams brothers have written a draft of the screenplay, which revolves around a young Special Air Service soldier returning from duty in the Middle East. He struggles to acclimate to regular society after this service, a condition afflicting innumerable soldiers and an issue that has faced heightened scrutiny over the past few decades.
Photographer Greg Williams, who directed Hardy in his short 'Sergeant Slaughter - My Big Brother,' will direct 'Samarkand.' He began his career as a war photographer and has since worked for magazines including GQ and Esquire, shot campaigns for films like 'Casino Royale' and 'The Bourne Ultimatum' and done portraits of a litany of celebrities.
Solar Pictures is the film financing and production arm of Bobby Paunescu and Jared Underwood's Solar Entertainment Group.
There is no exact timetable on the project, but Hardy recently finished 'Mad Max: Fury Road,' and will next film 'Animal Rescue' for Fox Searchlight. He is also attached to star in Doug Liman's 'Everest,' Daniel Epinosa's 'Child 44' and Steven Knight's 'Locke.'
The Williams brothers have written a draft of the screenplay, which revolves around a young Special Air Service soldier returning from duty in the Middle East. He struggles to acclimate to regular society after this service, a condition afflicting innumerable soldiers and an issue that has faced heightened scrutiny over the past few decades.
Photographer Greg Williams, who directed Hardy in his short 'Sergeant Slaughter - My Big Brother,' will direct 'Samarkand.' He began his career as a war photographer and has since worked for magazines including GQ and Esquire, shot campaigns for films like 'Casino Royale' and 'The Bourne Ultimatum' and done portraits of a litany of celebrities.
Solar Pictures is the film financing and production arm of Bobby Paunescu and Jared Underwood's Solar Entertainment Group.
There is no exact timetable on the project, but Hardy recently finished 'Mad Max: Fury Road,' and will next film 'Animal Rescue' for Fox Searchlight. He is also attached to star in Doug Liman's 'Everest,' Daniel Epinosa's 'Child 44' and Steven Knight's 'Locke.'
Comedian Tina Fey says "no way" she would host Oscars
LOS ANGELES (Reuters) - Comic actress Tina Fey says there is 'no way' she would host the Oscars ceremony next year, despite getting a thumbs up from 'Star Trek' actor William Shatner in a sketch at Sunday's Academy Awards show.
The creator and star of TV comedy '30 Rock' told the Huffington Post website that she did not see herself as fronting the Oscars telecast.
'I just feel that gig is so hard. Especially for, like, a woman - the amount of months that would be spent trying on dresses alone...no way,' she joked, during an interview with the Huffington Post posted on the website on Tuesday.
Asked if there was at least a one in a million chance, Fey replied, 'I wish I could tell you there was.'
Fey and 'Baby Mama' actress Amy Poehler both received rave reviews for hosting the Golden Globes awards for the first time in January.
In a sketch on Sunday with Seth MacFarlane, Shatner appeared from the future as 'Star Trek' Captain James T. Kirk in a running joke about the edgy 'Family Guy' creator's suitability as host of the most coveted honors in the movie business.
'Why couldn't they get Tina and Amy to host?' Shatner asked, to laughs from the audience packed with Hollywood stars.
TV critics panned the song-and-dance-heavy show and MacFarlane said on Tuesday that he would not consider hosting the Oscars a second time.
The Oscar host - considered both the highest honor and riskiest job in Hollywood - is usually chosen by the producers of the Academy Awards show and is generally announced about five or six months before the February ceremony.
(Reporting By Jill Serjeant; Editing by Cynthia Osterman)
The creator and star of TV comedy '30 Rock' told the Huffington Post website that she did not see herself as fronting the Oscars telecast.
'I just feel that gig is so hard. Especially for, like, a woman - the amount of months that would be spent trying on dresses alone...no way,' she joked, during an interview with the Huffington Post posted on the website on Tuesday.
Asked if there was at least a one in a million chance, Fey replied, 'I wish I could tell you there was.'
Fey and 'Baby Mama' actress Amy Poehler both received rave reviews for hosting the Golden Globes awards for the first time in January.
In a sketch on Sunday with Seth MacFarlane, Shatner appeared from the future as 'Star Trek' Captain James T. Kirk in a running joke about the edgy 'Family Guy' creator's suitability as host of the most coveted honors in the movie business.
'Why couldn't they get Tina and Amy to host?' Shatner asked, to laughs from the audience packed with Hollywood stars.
TV critics panned the song-and-dance-heavy show and MacFarlane said on Tuesday that he would not consider hosting the Oscars a second time.
The Oscar host - considered both the highest honor and riskiest job in Hollywood - is usually chosen by the producers of the Academy Awards show and is generally announced about five or six months before the February ceremony.
(Reporting By Jill Serjeant; Editing by Cynthia Osterman)
Comedian Will Ferrell to be honored with MTV award
NEW YORK (Reuters) - Will Ferrell will be honored by MTV at its 2013 movie awards show in April for his work in television and film comedy, the cable television network said on Wednesday.
The actor and comedian, who spent years on the TV show 'Saturday Night Live' and appeared in the films 'Anchorman' and 'Elf,' will receive MTV's first Comedic Genius Award.
'Over the course of his extraordinary, 17-plus-year career, he has entertained audiences across the globe with an impressive array of laugh-out-loud performances on air, online and in films,' Stephen Friedman, MTV's president, said in a statement.
Ferrell will receive the award at the April 14 show from the Sony Pictures Studios Lot in Culver City, California.
(Reporting by Noreen O'Donnell; Editing by Patricia Reaney and Eric Beech)
The actor and comedian, who spent years on the TV show 'Saturday Night Live' and appeared in the films 'Anchorman' and 'Elf,' will receive MTV's first Comedic Genius Award.
'Over the course of his extraordinary, 17-plus-year career, he has entertained audiences across the globe with an impressive array of laugh-out-loud performances on air, online and in films,' Stephen Friedman, MTV's president, said in a statement.
Ferrell will receive the award at the April 14 show from the Sony Pictures Studios Lot in Culver City, California.
(Reporting by Noreen O'Donnell; Editing by Patricia Reaney and Eric Beech)
Tuesday, February 26, 2013
Jennifer Lawrence's clothes from "Silver Linings" up for auction
LOS ANGELES (Reuters) - Clothing worn by Jennifer Lawrence in her Oscar-winning role as an outspoken young widow in comedy 'Silver Linings Playbook' went up for auction on Tuesday, just two days after the Academy Awards ceremony.
Memorabilia dealer Nate D. Sanders put the skin-tight white dance pants, winter coat and sports bra Lawrence wore in the film up for sale in the online auction that will end on Thursday.
The items are expected to fetch between $500 and $1,500 following the 22-year-old's Best Actress win on Sunday.
'She's now on the record for having an Academy Award, which definitely gives it (the items) status now,' said Laura Yntema, spokeswoman for auction house Nate D. Sanders.
'The Hunger Games' star also won awards from the Golden Globe and Screen Actors Guild in January for her 'Silver Linings Playbook' performance.
Five items, either worn by Lawrence or from her wardrobe on the film, are up for auction with starting bids at $100.
They include the custom-tailored skin-tight white pants Lawrence wore during the film's climactic ballroom dance scene with co-star Bradley Cooper.
The black, full-length double-breasted Moda International wool coat is a size six. The teal sports bra by Gap Body will be sold together with an extra-small blue Threads 4 Thought long-sleeved shirt.
The auction also has nine clothing items either worn or from the wardrobe of Cooper, and two items from the wardrobe of supporting actor Chris Tucker.
Movie studios often hand off costumes to auction houses, where even small outfits can fetch high prices from fans and collectors.
(Reporting by Eric Kelsey; Editing by Jill Serjeant and Eric Walsh)
Memorabilia dealer Nate D. Sanders put the skin-tight white dance pants, winter coat and sports bra Lawrence wore in the film up for sale in the online auction that will end on Thursday.
The items are expected to fetch between $500 and $1,500 following the 22-year-old's Best Actress win on Sunday.
'She's now on the record for having an Academy Award, which definitely gives it (the items) status now,' said Laura Yntema, spokeswoman for auction house Nate D. Sanders.
'The Hunger Games' star also won awards from the Golden Globe and Screen Actors Guild in January for her 'Silver Linings Playbook' performance.
Five items, either worn by Lawrence or from her wardrobe on the film, are up for auction with starting bids at $100.
They include the custom-tailored skin-tight white pants Lawrence wore during the film's climactic ballroom dance scene with co-star Bradley Cooper.
The black, full-length double-breasted Moda International wool coat is a size six. The teal sports bra by Gap Body will be sold together with an extra-small blue Threads 4 Thought long-sleeved shirt.
The auction also has nine clothing items either worn or from the wardrobe of Cooper, and two items from the wardrobe of supporting actor Chris Tucker.
Movie studios often hand off costumes to auction houses, where even small outfits can fetch high prices from fans and collectors.
(Reporting by Eric Kelsey; Editing by Jill Serjeant and Eric Walsh)
Former Swissair manager says 'Argo' scenes realistic
GENEVA (Reuters) - A former Swissair official said the airport scenes in Oscar-winning film 'Argo' were a realistic depiction of the airline's unwitting role in the rescue of American diplomats from Tehran during the 1979 Islamic Revolution.
Heinz Koch, who was in charge of the now defunct air carrier's operations in Tehran at the time, said Swissair was not told about the true identities of the 'very important Canadian passengers' until months after it carried the six U.S. diplomats to safety aboard one of its airplanes.
'I was informed by the Canadian embassy that they have on this particular day very important Canadian passengers on board and we should make sure that they were not off-loaded last minute. But this was purely a reservation question, we had no direct impact on immigration,' he told World Radio Switzerland.
'It was a few months later when we got the first information that probably these U.S. diplomats were on board this particular Swissair flight. But we made sure that this information didn't pass around the world,' Koch said.
'We still wanted to operate to and from Tehran and it would have been a big risk if the authorities would have known that we were involved in this operation,' he added.
'Argo' stormed to Best Picture victory at the Oscars in Los Angeles. The honours for the Iran hostage drama marked a triumphant comeback into Hollywood's mainstream for director Ben Affleck.
The thriller, based on a true story, recounts a CIA mission to rescue six American diplomats from Iran under the cover of making a fake Hollywood film. The six escape using falsified Canadian passports and the CIA role only emerged years later.
Iran's culture minister Mohammad Hosseini said on Monday in a news agency report that the film was 'anti-Iran' and lacked artistry.
Life in Tehran after the revolution - during which 52 American diplomats were held hostage - was tense, Koch said.
'The situation in town was very critical. Most other foreigners had left the country, especially families with school children because the international schools were closed down after the revolution.'
Travelers had to pass through many checkpoints on the roads, manned by Revolutionary Guards, he said.
'But we as Swiss we usually passed without problems. The problem was to prove that you were not a U.S. citizen because they were looking for the Americans,' Koch said.
Many Iranians and expatriates were trying to flee Iran, Koch said. Asked if he recalled anything particular on the day of the now historic escape, he said:
'No, for us it was a regular flight as we operated every morning non-stop from Tehran to Zurich. The flights were always overbooked, we were one of the very few airlines still operating to Iran,' he said.
'There was always a big hassle at the check-in for last-minute tickets. Of course there were also problems for Iranians and foreign passengers because they were never sure they could leave the country or not. There were several immigration officers checking your documents, of course the Revolutionary Guards were also present.'
Koch, who said that he had seen 'Argo' with his wife and son in Switzerland, said the Tehran airport security scenes rang true, including Revolutionary Guards questioning passengers.
'That's realistic. When you went to the airport, you had these checkpoints before entering the building, you had checkpoints at the airport, then you had the official immigration, you had the Revolutionary Guards, and even before boarding the aircraft, the passports were checked again.
'And many passengers were stopped from leaving the country.'
(Reporting by Stephanie Nebehay, editing by Paul Casciato)
Heinz Koch, who was in charge of the now defunct air carrier's operations in Tehran at the time, said Swissair was not told about the true identities of the 'very important Canadian passengers' until months after it carried the six U.S. diplomats to safety aboard one of its airplanes.
'I was informed by the Canadian embassy that they have on this particular day very important Canadian passengers on board and we should make sure that they were not off-loaded last minute. But this was purely a reservation question, we had no direct impact on immigration,' he told World Radio Switzerland.
'It was a few months later when we got the first information that probably these U.S. diplomats were on board this particular Swissair flight. But we made sure that this information didn't pass around the world,' Koch said.
'We still wanted to operate to and from Tehran and it would have been a big risk if the authorities would have known that we were involved in this operation,' he added.
'Argo' stormed to Best Picture victory at the Oscars in Los Angeles. The honours for the Iran hostage drama marked a triumphant comeback into Hollywood's mainstream for director Ben Affleck.
The thriller, based on a true story, recounts a CIA mission to rescue six American diplomats from Iran under the cover of making a fake Hollywood film. The six escape using falsified Canadian passports and the CIA role only emerged years later.
Iran's culture minister Mohammad Hosseini said on Monday in a news agency report that the film was 'anti-Iran' and lacked artistry.
Life in Tehran after the revolution - during which 52 American diplomats were held hostage - was tense, Koch said.
'The situation in town was very critical. Most other foreigners had left the country, especially families with school children because the international schools were closed down after the revolution.'
Travelers had to pass through many checkpoints on the roads, manned by Revolutionary Guards, he said.
'But we as Swiss we usually passed without problems. The problem was to prove that you were not a U.S. citizen because they were looking for the Americans,' Koch said.
Many Iranians and expatriates were trying to flee Iran, Koch said. Asked if he recalled anything particular on the day of the now historic escape, he said:
'No, for us it was a regular flight as we operated every morning non-stop from Tehran to Zurich. The flights were always overbooked, we were one of the very few airlines still operating to Iran,' he said.
'There was always a big hassle at the check-in for last-minute tickets. Of course there were also problems for Iranians and foreign passengers because they were never sure they could leave the country or not. There were several immigration officers checking your documents, of course the Revolutionary Guards were also present.'
Koch, who said that he had seen 'Argo' with his wife and son in Switzerland, said the Tehran airport security scenes rang true, including Revolutionary Guards questioning passengers.
'That's realistic. When you went to the airport, you had these checkpoints before entering the building, you had checkpoints at the airport, then you had the official immigration, you had the Revolutionary Guards, and even before boarding the aircraft, the passports were checked again.
'And many passengers were stopped from leaving the country.'
(Reporting by Stephanie Nebehay, editing by Paul Casciato)
Monday, February 25, 2013
"Argo" storms to Oscar victory on night of surprises
LOS ANGELES (Reuters) - 'Argo' stormed to Best Picture victory at the Oscars on Sunday on a night of surprises that ended in disappointment for frontrunner 'Lincoln' and handed the most overall wins - four - to 'Life of Pi.'
It was the first time since 'Driving Miss Daisy' in 1990 that a film won the top prize at the Oscars without its director also being nominated.
The honors for the Iran hostage drama marked a triumphant comeback into Hollywood's mainstream for director Ben Affleck, who failed to get a nomination in the directing category six weeks ago, and who struggled for years to rebuild his reputation after tabloid ridicule over his 2002-2004 romance with Jennifer Lopez.
'Argo' also won best film editing and best adapted screenplay for its gripping and often comedic tale of the CIA mission to rescue six U.S. diplomats from Tehran shortly after the Islamic Revolution.
'So many wonderful people extended their help to me when they had nothing to benefit from it ... you can't hold grudges. It's hard, but you can't hold grudges. It doesn't matter how you get knocked down in life, because it happens. All that matters is that you get up,' the 40-year-old Affleck, who also produced the film, said in an emotional acceptance speech.
Ang Lee was an upset choice for Best Director for his lavish shipwreck tale 'Life of Pi,' beating the respected Steven Spielberg, whose presidential drama 'Lincoln' took home just two Oscars from a leading 12 nominations.
The other three wins for 'Life of Pi' came for original score, visual effects and cinematography.'
The Best Picture Oscar for 'Argo' was announced in one of the best kept secrets in the history of Oscar telecasts when first lady Michelle Obama made an unprecedented video appearance from the White House to open the winning envelope.
Daniel Day-Lewis, as expected, made Oscar history and won a long standing ovation on becoming the first man to win three Best Actor Oscars. He collected the golden statuette for his intense performance as U.S. President Abraham Lincoln battling to abolish slavery and end the U.S. civil war in 'Lincoln.'
'I really don't know how any of this happened,' said Day-Lewis, who has dual Anglo-Irish citizenship.
Jennifer Lawrence was named Best Actress for playing a feisty young widow in comedy 'Silver Linings Playbook', tripping up on her Dior dress while was going up on the stage.
BAD NIGHT FOR 'ZERO DARK THIRTY'
She beat 'Zero Dark Thirty' actress Jessica Chastain and France's Emmanuelle Riva, 86, the star of Austrian foreign-language winner 'Amour,' in one of the closest Oscar contests this year.
The 5,800 members of the Academy of Motion Picture Arts and Sciences, who chose the Oscar winners in secret ballots, dealt a stinging blow to 'Zero Dark Thirty.'
The movie about the 10-year-long hunt for Osama bin Laden, which has been attacked by Washington politicians and some human rights groups for its depiction of torture, came away with just one Academy Award out of five nominations.
Even that Oscar - for sound editing - had to be shared as it was a tie with James Bond blockbuster 'Skyfall.'
Sunday's show will also be remembered for the provocative performance given by Seth MacFarlane, creator of animated television series 'Family Guy,' in his debut as Oscars host.
MacFarlane, 39, pushed the envelope with cheeky songs like 'We Saw Your Boobs' about actresses who have stripped down for movie roles, and jokes about Hollywood's large Jewish and gay communities.
He also turned the telecast into a running joke about whether he would be deemed the worst Oscar host ever by the media on Monday.
Anne Hathaway was a popular first time Oscar winner for her supporting turn in musical 'Les Miserables.'
'It came true,' she said, cradling the golden statuette. Hathaway starved herself and chopped off her long brown locks to play the musical's tragic heroine Fantine in 'Les Miserables' where she showed off hitherto little known talents as a singer.
Austrian, Christoph Waltz, seemed shocked to win the closest contest going into the ceremony. He took Best Supporting Actor honors for his turn as an eccentric dentist turned bounty hunter in Quentin Tarantino's slavery revenge fantasy 'Django Unchained.'
It was Waltz's second Oscar, after winning for the Tarantino movie 'Inglourious Basterds' in 2010.
A jubilant Tarantino also won the Oscar for Best Original Screenplay, and credited the actors who brought the characters in all his films to life. 'And boy this time, did I do it!,' he said.
'Brave,' the Pixar movie about a feisty Scottish princess, took home the golden statuette for Best Animated Feature.
(Editing by Mary Milliken and Sandra Maler)
It was the first time since 'Driving Miss Daisy' in 1990 that a film won the top prize at the Oscars without its director also being nominated.
The honors for the Iran hostage drama marked a triumphant comeback into Hollywood's mainstream for director Ben Affleck, who failed to get a nomination in the directing category six weeks ago, and who struggled for years to rebuild his reputation after tabloid ridicule over his 2002-2004 romance with Jennifer Lopez.
'Argo' also won best film editing and best adapted screenplay for its gripping and often comedic tale of the CIA mission to rescue six U.S. diplomats from Tehran shortly after the Islamic Revolution.
'So many wonderful people extended their help to me when they had nothing to benefit from it ... you can't hold grudges. It's hard, but you can't hold grudges. It doesn't matter how you get knocked down in life, because it happens. All that matters is that you get up,' the 40-year-old Affleck, who also produced the film, said in an emotional acceptance speech.
Ang Lee was an upset choice for Best Director for his lavish shipwreck tale 'Life of Pi,' beating the respected Steven Spielberg, whose presidential drama 'Lincoln' took home just two Oscars from a leading 12 nominations.
The other three wins for 'Life of Pi' came for original score, visual effects and cinematography.'
The Best Picture Oscar for 'Argo' was announced in one of the best kept secrets in the history of Oscar telecasts when first lady Michelle Obama made an unprecedented video appearance from the White House to open the winning envelope.
Daniel Day-Lewis, as expected, made Oscar history and won a long standing ovation on becoming the first man to win three Best Actor Oscars. He collected the golden statuette for his intense performance as U.S. President Abraham Lincoln battling to abolish slavery and end the U.S. civil war in 'Lincoln.'
'I really don't know how any of this happened,' said Day-Lewis, who has dual Anglo-Irish citizenship.
Jennifer Lawrence was named Best Actress for playing a feisty young widow in comedy 'Silver Linings Playbook', tripping up on her Dior dress while was going up on the stage.
BAD NIGHT FOR 'ZERO DARK THIRTY'
She beat 'Zero Dark Thirty' actress Jessica Chastain and France's Emmanuelle Riva, 86, the star of Austrian foreign-language winner 'Amour,' in one of the closest Oscar contests this year.
The 5,800 members of the Academy of Motion Picture Arts and Sciences, who chose the Oscar winners in secret ballots, dealt a stinging blow to 'Zero Dark Thirty.'
The movie about the 10-year-long hunt for Osama bin Laden, which has been attacked by Washington politicians and some human rights groups for its depiction of torture, came away with just one Academy Award out of five nominations.
Even that Oscar - for sound editing - had to be shared as it was a tie with James Bond blockbuster 'Skyfall.'
Sunday's show will also be remembered for the provocative performance given by Seth MacFarlane, creator of animated television series 'Family Guy,' in his debut as Oscars host.
MacFarlane, 39, pushed the envelope with cheeky songs like 'We Saw Your Boobs' about actresses who have stripped down for movie roles, and jokes about Hollywood's large Jewish and gay communities.
He also turned the telecast into a running joke about whether he would be deemed the worst Oscar host ever by the media on Monday.
Anne Hathaway was a popular first time Oscar winner for her supporting turn in musical 'Les Miserables.'
'It came true,' she said, cradling the golden statuette. Hathaway starved herself and chopped off her long brown locks to play the musical's tragic heroine Fantine in 'Les Miserables' where she showed off hitherto little known talents as a singer.
Austrian, Christoph Waltz, seemed shocked to win the closest contest going into the ceremony. He took Best Supporting Actor honors for his turn as an eccentric dentist turned bounty hunter in Quentin Tarantino's slavery revenge fantasy 'Django Unchained.'
It was Waltz's second Oscar, after winning for the Tarantino movie 'Inglourious Basterds' in 2010.
A jubilant Tarantino also won the Oscar for Best Original Screenplay, and credited the actors who brought the characters in all his films to life. 'And boy this time, did I do it!,' he said.
'Brave,' the Pixar movie about a feisty Scottish princess, took home the golden statuette for Best Animated Feature.
(Editing by Mary Milliken and Sandra Maler)
Subscribe to:
Posts (Atom)