Box Office: “Jack the Giant Slayer” bombs

It cost a reported $195 million, and needed to make a lot of that back on its opening weekend. The high end of speculation about its potential — 3D prices and all — was about $30 million. Now it looks as it “Jack the Giant Slayer” won’t clear $24 million on its opening weekend. Disaster. It’ll be lucky to earn $45 million by the time it’s finished its run, with “Oz” opening and sucking all its audience away next weekend.
“21 and Over” isn’t reaching its target audience, and “The Last Exorcism Part II” isn’t packing them in, either. A VERY weak post-Oscar blues weekend at the box office.

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Today’s Interviews: Directors Chris Sanders and Kirk De Micco of “The Croods”

The Big Dreamworks Spring cartoon this year is “The Croods,” about a family of cave men, cave women and cave teens. Fox is distributing it, and since Fox has had a lot of luck with Ice Age movies, well, this could blow up.

(My review is here).

Chris Sanders I first met when he made “Lilo & Stitch” here in Orlando, one of the great Disney cartoons, and one of the last classically animated — by hand, mostly — and the next to last one made in the now-closed Orlando studio. Kirk DeMicco I have never talked to.croodsguys

Oscar winners Cloris Leachman and Nicolas Cage, as well as Ryan Reynolds, Emma Stone and Catherine Keener are in the voice cast.

Questions about “The Croods” for Kirk and Chris? I’m scrambling to come up with a few good ones and could use the help. Comment below.

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General Bonner Fellers, the “hero” of the WWII drama “Emperor”?

In “Emperor,” the post-World War II occupation of Japan drama, Matthew Fox plays the brigadier general given the responsibility of investigating Emperor Hirohito’s involvement in the war, his knowledge of war crimes, and as the divine head of state, his ability to prevent any of that.

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General MacArthur, military ruler of occupied Japan and played by Tommy Lee Jones, tasks Fellers with this, all the while letting him know that he thinks he “needs” the emperor to carry out an aggressive makeover of Japan and get it on its feet quickly. Thus, he ties Fellers’ hands.  But Washington, MacArthur huffs, wants to the emperor to hang. So Fellers is on the horns of a dilemma, or would be, if the film had played that up.

This being a movie, they compress the time for the actual investigation to just a few days. In fact, the time period for the investigation was considerably more than 10 days.

Complicating matters for Fellers is his long-lost college love, a Japanese woman whom he is obsessed with tracking down even as he’s up against a 10 day deadline for coming to a decision on Hirohito.

Did Fellers, a real person just like MacArthur, have a Japanese girlfriend? The film says they met at “Douglaston College,” which does not appear to have ever existed.  So apparently not. A Hollywood invention, like the “ten day deadline.” But he did go to Japan, more than once, before the war. He wrote about the Japanese military, as the movie says. And he met an exchange student in college, according to his family.

Since the script is based on a Shiro Okamoto book that doesn’t appear to have been translated into English,  I ran into a blind alley in trying to figure this out for my review of “Emperor.” I have seen the film twice, and had to murky up the way I talked about the “love story” because, well, I don’t know definitively how much of it is made up.

But the real Fellers was complicated in ways significantly different from those depicted in the film or on his family-maintained website (serious omissions/whitewashing there).

He was in military intelligence, and just as America entered the war, he made a few fairly large boo-boos in the Middle East. He got labeled “Anglophobe,” and his blundering was costly to the British, fighting the Germans and Italians on their own in the Med and North Africa at the time.

Read any thorough book on espionage and code-breaking and WWII and Fellers’ name crops up. In the years since first posting this, I have stumbled across him repeatedly. In Max Hastings’ “The Secret War,” he steps off the pages as a lethally incompetent handler of intelligence. The leaks coming out of Fellers’ sloppily encrypted “briefings” and situation reports for HQ earned a nickname. Gen. Erwin Rommel called them “little Fellers.” Frequent, reliable intel for the Afrika Corps, composed by an American Army officer. He was like Baron Oshima, the stupidly chatty Allied “source” inside Berlin whose reports back to Tokyo caused Allied cryptanalysts to regard him as their very own, and not the Japanese ambassador to Nazi Germany.

Eisenhower reportedly mistrusted and hated the guy, even before his connection to the preening, imperious MacArthur. Fellers was in OSS, the precursor to the CIA, for a period. His incompetence should have gotten him court martialed. Instead, he was transferred to the Pacific and became MacArthur’s right hand man.

Did his mission to “save” the Emperor pay off? Yes and no.  Hirohito and his family were active in Japan’s military, its aggression and Hirohito personally approved of the war crimes that began in China and extended through VJ Day.

Not prosecuting him allowed Japan to turn less feudal and militaristic and more democratic/capitalistic, overnight. But some argue that MacArthur’s mania for keeping the emperor out of the noose gave the Japanese cover for living the lie that they were the “victims” of the war, allowed them to deny the countless atrocities, war crimes, etc., as the acts of a few. The fact that for decades, they kept films such as “The Last Emperor” and pretty much anything about the “Rape of Nanking” out of Japanese cinemas or off NHK TV backs that up. We gave them room for denial.

The denying goes on and on.

And Fellers’ own post-military activities, heavy involvement in far right groups, “For America” and the John Birch Society, suggests that the guy presented in the movie as having been lectured by MacArthur that Japan was to be the bulwark against the growing Communist threat in Asia became a lot more of a Better Dead than Red zealot than that.  Different times, different fears, that in itself is no utter condemnation of the man, though such circles were not exactly dens of intellectual political debate. As in Nazi Germany, ideologues like Fellers were valued for their loyalty, not their competence.

And the Emperor honored him later in life, which has a hint of quid pro quo about it.

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“Emperor” does a great job of presenting Japan’s rationalizations/justifications for its actions, at least the ones they gave and continue to give themselves. They were attacking and seizing British, French, American and Dutch colonies (tell that to the Koreans), and were only doing in China what the West had done 100 years before. In their minds, anyway. It’s almost a piece of Japanese apologia.

And the film is a lot murkier on other issues, what the Emperor knew and when he knew it, and whether or not this effort to bend “justice” to fit expediency was justified.

(Roger Moore’s interview with Tommy Lee Jones is here)

(Roger Moore’s review of “Emperor” is here.)

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Movie Review: “Greedy Lying Bastards”

ImageSeven years after the storms of “An Inconvenient Truth,” and little has changed in the world’s efforts to come to grips with climate change. The scientific consensus has firmed up, even further. Public opinion has, at last, fallen in line with the science, assisted by any number of in-your-face extreme weather events – epic droughts, record ice melts, multiple applications of the phrase “storm of the century,” just in this new century.

But action? Nothing. By anyone.

So filmmaker Craig Scott Rosebraugh (“Seventh Generation”) dispenses with conveniences and polite niceties and goes straight for the jugular with “Greedy Lying Bastards,” a movie about the folks who have fought, stalled and misdirected the international conversation about this dire subject for decades.

“Climate change is already with us,” Rosebraugh narrates over a montage of natural disasters, from floods to droughts, wildfires to hurricanes. As ice melts and shorelines wash away, he adds, “We knew decades ago” that this was coming. And to make his point, he has a very young actor Darren McGavin converse with a scientist in a 1950s educational film, shaken by descriptions of “the drowned towers of Miami.”

His film is about why no action has been taken, and it names names – discredited scientists, oil industry shills and out and out clowns (“Lord” Christopher Monckton), the people the climate change denying media trot out to cast doubt to delay action on the warming planet.

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Florida Film Festival announces International titles for the April event

Here’s the 2013 list of movies for the Fla. Film Festival’s International Showcase, followed by the British shorts they’re bringing in.

BROKEN/UK (Director: Rufus Norris)

Skunk (newcomer Eloise Laurence) is an eleven year-old diabetic girl who lives with her lawyer-father Archie (Tim Roth, Arbitrage) and her older brother Jed. Though their family has been broken apart by divorce, they lead a regular life and share a residence in what seems like a normal British suburb. She hangs out with her brother and au pair Kasia, whose boyfriend Mike (Cillian Murphy, 28 Days Later), Skunk has a crush on. But when she witnesses one of her neighbors, a mentally disturbed young man named Rick, get beaten up for something he didn’t do by bitter and angry older neighbor Mr. Oswald (Rory Kinnear, Skyfall), things begin to change.  The Opening Feature of Critic’s Week at the Cannes Film Festival and featuring a score by Damon Albarn’s Electric Wave Bureau, BROKEN is the award-winning feature film debut from theater director Rufus Norris. Its innovative, gritty, and powerful spin on British social realism and coming-of-age provides a curious look into a teenage adolescence surrounded by chaos and a seemingly commonplace suburban neighborhood that ultimately begins to crumble.

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THE HUNT/Denmark (Director: Thomas Vinterberg)

Mads Mikkelsen, winner of the Best Actor prize at the 2012 Cannes Film Festival, is brilliant as Lucas, a school teacher in a small, close-knit Scandinavian town. Lucas limps through an ugly custody battle over his son, only to have the promise of that situation’s resolution ruined by the accusation of his being a child molester. The charges come from Lucas’s best friend’s daughter in an innocent little lie and are so unfounded that he can barely bring himself to suffer the indignity of denying them. The investigation that follows is nothing compared to the nightmare Lucas finds himself plunged into by the social leprosy of his suspected pedophilia. The film’s unflinching focus on Mikkelsen’s character creates an inescapable and uncomfortable tension in this spellbinding new drama from Thomas Vinterberg (The Celebration). Winner of two other awards at Cannes and Best Screenwriter at the European Film Awards, THE HUNT is a masterful piece of filmmaking.

 

I DECLARE WAR/Canada (Director: Jason Lapeyre, Robert Wilson) SOUTHEAST PREMIERE

I DECLARE WAR definitely shows us a different side of war—the war games children engage in outside of school, perhaps during a boring weekend. The film follows a bunch of pre-teens as they arm themselves with make-believe weapons and real-life conflict for a contest of Capture the Flag, the likes of which we haven’t seen before. Let the childhood games begin! In this war there are two teams—one led by P.K. Sullivan, a Patton fan who tries to win at any cost, and the other led by Quinn, who seems to run a group of misfits (they even have a girl on their side, which only adds to the tension). This isn’t just a battle about winning or losing. These kids all have their own issues to face, and this metaphorical war is just the place to do it. Skillfully blending fantasy and reality and boasting terrific performances from its young cast, this is an infectious film that brings us back to our childhoods, when adulthood didn’t seem that complicated from far away. Humorous and unsettling, I DECLARE WAR plays out like Roald Dahl crossed with Lord of the Flies or Son of Rambow.

 

PIETA/South Korea (Director: Kim Ki-Duk)

South Korea’s daring writer-director Kim Ki-Duk (The Isle; Spring, Summer, Fall, Winter… and Spring) delivers a visceral film that is sure to provoke controversy. While the title alludes to Michelangelo’s serene statue, this movie uses a gritty, poor former factory district as the setting where Kang-do (Lee Jung-jin), a loan shark’s enforcer, works its small alleyways and tin-roofed workshops. Showing no emotion, he routinely cripples marginalized workers to collect on insurance policies, robbing them of limbs and livelihood. The victims’ lives seem as meaningless as the detritus of the post-industrial machinery around them. A mysterious woman (Cho Min-soo) appears, claiming to be Kang-do’s mother. Unbelieving, he

inflicts sadistic violence and humiliation upon her, until eventually believing her story.  As Kang-do experiences new feelings, he begins seeing his victims and past actions differently, discovering guilt, remorse, and repentance.  The acting is superb, the movie grim, and the plot has some unexpected twists.  Ultimately, however, the story offers redemption and grace—or at least atonement.  Winner of the “Golden Lion” for Best Film at the 2012 Venice International Film Festival, PIETA is a gripping and provocative vision of extreme storytelling at its finest.

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Box Office: Is “Jack the Giant Slayer” about to become an epic fail?

It cost close to $200 million, according to some estimates ($195). And the buzz on it is weak.

Will “Jack the Giant Slayer” ride lukewarm reviews and no buzz to a $26 million weekend? Box Office Mojo thinks so. Ray Suber over there figures “The Last Exorcism Part II” will clear $12 (established brand? I figure higher, as bad as it is) and that “21 and Over” will pull in $14+.

The Box Office Guru is thinking “Jack” will jack up about $28 million, and agrees with the $14 and $12ish predictions on “Exorcism.”

“Jack” is in 3D, opened at midnight Thursday. And we will see what we see. “John Carter” or, if they’re lucky, “Watchmen.”

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Tonight’s screening: “The ABCs of Death”

Yeah, baby, an old school omnibus slaughter picture!
OK, not my USUAL thing, but you’ve got 26 directors, from all over the world, doing short, complete sketch-length films about violent death, in everything from animation to found-footage first-person real.
The guy who did “Hobo with a Shotgun” represents, an “Innkeepers” writer or two, the Japanese director of “Battlefield Baseball…”
Oh, it’s a scene, man. “The ABCs of Death” opens March 8.

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Weekend movies — “Giant Slayer” so-so, “21 and Over” amusing, “Sweeney” better, “Exorcism” awful

A couple of observations about the year so far in movies. There have been a few not-half-bad ones, but movies that have caught on with audiences and stuck around, that have buzz and staying power? “Identity Thief” is pretty much it. And it’s not very good.

This weekend is another exercise in fair to middling.

“The Sweeney” is fair. Cockney slang, violence, and all that. Reviews reflect that, especially mine. “21 and Over” and “Jack the Giant Slayer” are middling. Again, that’s what the reviews are saying, including mine for “Jack” and for “21 and Over.”

“Stoker” is opening in some markets, and I rather enjoyed its Hitchcockian creepy/kinky touches. Most critics agreed.

“Phantom” is OK for a B movie — 2 stars out of four, watchable, well-enough-acted, derivative and melodramatic. Reviews overall reflect that.

There were people who endorsed “Last Exorcism Part II.” Not the sort of folks I’d care to have a drink with. Peyewwwww.

The documentaries “A Place at the Table” and “Hava Nagila” and “No Place On Earth” are all quite good, not Oscar nomination good, but entertaining and informative and worth your time.

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Movie Review: Let’s hope this is the “Last Exorcism”

ImageOk, so it wasn’t “The Last Exorcism” after all. Here’s “Part II: The Second Coming,” an 88 bore without the nervy, shaky-camera found-footage conceit, without the doubting exorcist’s moment of truth, without the chills of demonic possession thrills that the low-budget original film served up.
“Part II” is every bit as cheap and far more generic, nothing more than a run of the mill ghost story masquerading as The Devil Made Her Do It.
Ashley Bell, as Nell, the teen lusted after by Lucifer, seems exhausted, frazzled, out of her acting league and nowhere near her teen years in this sequel. Nell has stumbled into New Orleans, hounded during Mardi Gras even as she tries to convince doctors and those in a mental health halfway house that “I’m not crazy.”
But she’s seeing her dead daddy (Louis Herthum). she’s hearing voices.
“He’s coming for you, Nell.”
Dogs bark at her passing, gorillas in the zoo act up. And ever Mardi Gras reveler in a scary mask stares her down. Frank (Muse Watson), who runs Deveroux Halfway House, could not be more wrong when he assures her, “Whatever you’re running from won’t find you here.”
“Last Exorcism II” is a slower than slow thriller built around Bell, who isn’t at her most subtle or empathetic here. There’s fear and the burden of “If he seduces you, all hope is lost.” Not that Bell as Nell gets that across. There’s no urgency to the performance, or that of anybody else trying to save poor Nell from Hell.
It’s a film of cheap shriek scares and fizzing frights that pack no punch. The usual tropes of these movies show up — exorcists who have the tools, but face personal demons, bleeding walls, birds that fly into a house where Nell hides out (Hey, it was ALIENS who caused that in “Dark Skies”).
The effects are skimpy and cheesy, with that crazy contortion business that “Last Exorcist” took to new extremes rarely used.
Filmmaker Ed Gass-Donnelly sets too much of the action in broad daylight, which isn’t spooky. The dull acting doesn’t hide that there’s not enough story to justify setting this in Voodooville, USA — New Orleans.
So one can only hope that when the say “Last Exorcism” this time, that they mean it.
MPAA Rating: PG-13 for horror violence, terror and brief language
Cast: Ashley Bell, Julia Garner, Louis Herthum
Credits: Directed by Ed Gass-Donnelly, written by Damien Chazelle and Ed Gass-Donnelly. A CBS Films release.
Running time: 1:28

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Tonight’s screening: “The Last Exorcism Part 2”

Ashley Bell is back. And nobody involved apparently is familiar with the meaning of “Last,” because she’s still in need of exorcising. Imagine running across this in Mardi Gras. Yes, the setting has moved to New Orleans.

No, this image isn’t in the finished film. Here’s my review of it.

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