An Evening with Richard Dreyfuss? Get your tickets while you can!

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“The Goodbye Girl” is, like any modern classic, a film you not only remember seeing, you remember where and who you saw it with if you’re of a certain age.

I remember those facts because of an argument I lost.

The film’s star, Richard Dreyfuss, was in two smash hits in the winter of 1977-78. The other is an iconic science fiction picture beloved by fans of the genre as one of the smart, adult blockbusters in a playground of fantasy, action and space cowboys.

So if you were dating at the time, you had the choice to two Dreyfuss must-see movies to catch, typically not in the same day as the multi-plex was only just emerging as the new cinema model.

I wanted to see “Close Encounters,” and was waiting for date night to do it.

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My girlfriend, similarly inclined, preferred “The Goodbye Girl,” a Neil Simon romance. Ok, a “chick picture,” as we said at the time. She attended a college 140 miles from the one I where I enrolled. There was a long drive involved. It was winter. It snows in the mountains of western Virginia.

But you let the lady choose the movie, in the end, right?

So Kelly and I saw “The Goodbye Girl” at the old Virginia Theatre in Harrisonburg, home to James Madison University, on a snowy evening close to Christmas in 1977.

Want a chance to connect this classic film to your own memories, a movie night to remember?

Dreyfuss is coming to the Florida Film Festival (tickets at the link) this year for a special showing of “The Goodbye Girl,” a way of celebrating his career and that of the playwright/screenwriter Neil “Doc” Simon, who scripted the role that won Dreyfuss his Oscar.

It’s at 7:30 Friday night, April 19 at the Enzian Theater in Maitland (north Orlando). You’re going to want to be there, to see one of the great screen romances of the ’70s, to catch a very funny film star on the rise, to relish the movie that spoiled Dreyfuss’s chances of ever playing “Richard III.” Because once you’ve seen his character’s director-mandated approach to the infamous sovereign in “Goodbye Girl,” you can’t see Richard III any other way.

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I’m moderating a Q & A with Dreyfuss after the screening, and I hope you’ll show up with some real “Inside the Actor’s Studio” questions to add to the ones I’m planning on asking.

C’mon. The guy’s 120+ credits into a career that’s included “Tin Men,” “Down and Out in Beverly Hills,” “Let it Ride,” “Stake Out,” “Whose Life is it Anyway?” and “Lost in Yonkers.” You’ve got questions. You know you do.

See you there!

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Documentary Review: DisneyNature’s “Penguins” is an adorable Earth Day gift

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The creators of “Penguins,” this year’s DisneyNature Earth Day gift to moviegoers, walk a fine line between cute and “cutesie.”

The producers hired comic actor Ed Helms (“The Office,””The Hangover”) to narrate. They anthropomorphize the Adélie penguins the film is about, naming one “Steve” and his mate Adeline.

Disney has been doing this since getting into the nature documentary business in the 1940s. Who remembers “Perri the Squirrel?” Anyone?

So DisneyNature’s “Penguins” is considerably more kid-friendly than 2005’s “March of the Penguins,” a classic of the genre, and a French-made blockbuster that earned $127 million at the box office while showing the world the epic struggle of emperor penguins to survive, make and hold their own in the harshest climate on Earth — the frozen wasteland of Antarctica.

We meet Steve as he returns to the continent for the first time as an adult, a guy in the make. For a mate.

“Is she looking at me? She’s looking at ME…Annnnnd she’s walking away.”

Helms not only narrates, he takes on Steve’s interior voice as he clumsily tries to attract a female, courts and gets down to the business Adélie penguins are famous for — collecting pebbles to build a nest.

Helms gives Steve an underdog’s charm, even if it’s impossible to make the little 15 pound birds more adorable than nature already made them.

But he’s perfectly sober-voiced in describing the harsh living conditions, the steep odds and the major threats facing these small penguins, clustered in colonies during the chilly Antarctic summer.

You remember some of them from “March of the Penguins” — terrible cold, blizzards, the predatory skuas (birds) who eat their eggs and kill their young, Orcas and leopard seals.

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Co-directors Alastair Fothergill (“Planet Earth,” “Chimpanzee,” “Bears”) and Jeff Wilson may play up the cute, here. But they don’t sugar coat this world, either. Having the narrator call Orcas “Killer Whales” is apt.

And if they’ve done their jobs right, their movie will show the awful consequences of leopard seal attacks. You could have heard a pin drop during those scenes — in a theater crowded with children — when the seals, working in tandem, hunt the little birds through the ice floes. Life is scary, and life in the wild doesn’t favor the cute and cuddly — an important bit of growing up movies like this should deliver.

In the years since “March of the Penguins,” cameras have gotten smaller, drones have become handy filmmaking tools and “Penguins” benefits from these advances — capturing the scale of the size of the colony and bringing us the most magnificent under-ice/underwater photography the cinema has ever seen.

“Penguins” isn’t just adorable. It is, in many moments, beautiful.

The “cute” gets to be a bit much, with “romantic” moments underscored with REO Speedwagon’s “I Can’t Fight this Feeling Any More” and Steve’s end-of-summer trip back into the sea with Whitesnake’s “Here I Go Again On My Own.”

It won’t supplant “March of the Penguins.” But DisneyNature has scored another kid-friendly natural world documentary about wild creatures we all connect with and that today’s kids will grow up wanting to protect from climate change and the other man-made threats facing them.

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MPAA Rating: G, some animals-in-peril moments

Cast: The voice of Ed Helms

Credits:Directed by Alastair Fothergill, Jeff Wilson, script by David Fowler. A DisneyNature release.

Running time: 1:16

 

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Next screening? Disneynature’s “Penguins” | In Theatres April 17

Most righteous thing Disney does as a movie studio is celebrate Earth Day with a nature doc Every year.

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BOX OFFICE: “Hellboy” bombs, ” Missing Link” misses, “Little” opens “Big-ish”

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As I said in my review, “They killed ‘Hellboy.‘”

Early marketing, trailers etc., showed promise.

But the Neil Marshall/David Harbour “Hellboy” experience, a debacle of a reboot, opened to awful reviews — Lionsgate didn’t screen it widely enough to suggest they knew how bad it was — and audiences are staying away.

Is it really opening to just $12-13 million in business? That is a little better than half what it was expected to pull in. That’s a studio front office killer. Man, who gets fired?

Blame the producers, says Marshall. Blame the screenwriter and director, Cosby and Marshall — as well. What a mess.

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It opened so weak it never gave the second weekend of “Shazam!” any sort of competition. Hell, it opened so weak that the Issa Rae/Regina Hall/Kid from “Black-ish” comedy “Little,” a flipping of the “Big” script, bettered it with ease — close to $15 million for that one, a wee bit better than predicted.

“Shazam” is in the $23 million range this weekend, barely exceeding expectations.

Saturday is the make-or-break day for kids’ animation, so “Missing Link,” despite having Hugh Jackman voicing the lead, with Zoe Saldana, Zach Galifianakis, Stephen Fry and Timothy Olyphant doing other voices, despite Laika’s stop-motion animated track record, will have to do MUCH better than it did Friday for that one to ever hit profit. It’s on track, per Deadline, which always underestimates family films at the box office, to manage only $5-6 million, as of now. The fact that it’s not a dazzler, not that funny, etc., isn’t helping.

The lukewarm/lame romance “After,” also opening this weekend, is doing better — $7-8 million, maybe.

“Pet Sematary” and “The Best of Enemies” are falling off fast.

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Preview, “Star Wars: Episode IX” wraps it all up

Now I don’t know if this Daisy Ridley/J.J. Abrams controlled “Star Wars” trilogy is going to solve its essential problems with story, pace, inclusive-casting that overreaches and cluttering the picture with extra characters –all to sell more toys and make more money in foreign markets — with this last, third film in the sequence.

But unlike with the final “Avengers,” this I can look forward to. I’m still capable of falling for the essence of cinema that makes every “Star Wars” movie a heartbeat-skipping moment of anticipation, at least as far as the trailers are concerned.

Our old friend Luke narrating, now an old man, and John Williams’ score welling up on the soundtrack, that takes you back, right back where you were when first encountered this universe.

Here it is, “Episode IX,” on its way this holiday season.

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Movie Review: Of hockey, a hit-man and his long lost Ontario love — “First Round Down”

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Maybe the world hasn’t been waiting with bated breath for a Canadian hockey-flavored version of “Grosse Point Blank.” But that was fun, flippant and romantic and the violence wasn’t as in-your-face as you might expect for a hit-man high school reunion comedy. So why not?

“First Round Down” shows us the possibilities in the idea, even if it hammers home the point that we’re still waiting on a good action comedy along those lines.

It’s a glib, slow and somewhat sour variation on a theme, a comedy that’s never as jaunty as that ancient Canadian ditty that plays out under the opening credits, “The Good ol’Hockey Game” by “Stompin’ Tom Connors.

The reunion this time is of a famous Hamilton, Ontario Junior team, the Steelhawks, who conjured up “the preeminent sporting event in Hamilton history” when they won The Sterling Cup. The story maintains that was ten years ago, but everybody in this thing looks as if more than ten years have passed, the vintage music and vintage cars treasured by those who lived through it are even older still.

Tom Tucker, played by Dylan Bruce of “American Gothic” and “Orphan Black,” was “the most touted junior hockey player in years” back when he wore the black and gold. But he was laid out and injured during a game, ending his career.

He’s back in town, delivering pizzas, getting the odd double take of “Didn’t you used to be” even as he isn’t landing tips. Tom looks after baby brother Matty — “It’s MATTHEW!” (Percy Hynes White) — and saves his pennies.

Tom can take up with his old drinking buddy Bobby (Rob Ramsay, funny) and get a pass from a cop (Boomer Phillips) who tries and fails to arrest him for public urination after a night of drinking.

“Bill? I thought you were just some dumb cop.”

“I AM a dumb cop. Look how fast you stole my gun!”

But the homecoming doesn’t really hit home until he delivers a pizza to his ex, Kelly (Rachel Wilson of “Republic of Doyle”).

“It’s been ten years, Tucker. Get over me.”

Maybe he has and maybe he hasn’t. And what’s he been up to during the decade he was away? Feed him a beer or two and you’ll get it out of him.

Tom, it turns out, is a careless, loose-lipped, jokey and hotheaded hit man.

“Coupla bourbons for me and the ‘Goodfella’ over here!”

The casual viewer can guess the one or two directions “First Round Down” is going just from that one character trait. But let’s play out the string, because “Hammertown” (Hamilton’s nickname) deserves no less.

The stuff that works is Tom’s general haplessness and near-embarrassment at doing this job, back in this town, remembered by these people.

His alcohol problems have him slapping pucks, at game speed, at his goalie little brother in their garage, and bellowing at kids in a game he where he and Bobby are imbibing.

Fat loser Bobby yelling, “You are a drunken f—–g mistake” at a kid hockey player on the ice? Funny.

There’s beer drunk stalking and that whole public urination incident as well, all lightly amusing aspects of his character flaw.

His anger management issues have him giving a kid a hard time for not tipping because he’s just “a front for your parents” penny-pinching ways. And then there’s the room full of tough guys who not only stiff him over his tip, but insult him and won’t even pay full price for their pie.

The best scene co-directors Brett and Jason Butler cook up and shoot is essentially a savage hockey fight, on dry land with Tom taking on three toughs, glimpsed through a half-open  motel room door.

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The characters and story’s actual age and proper setting are given away in a bit of casting. John Kapelos makes a memorable mark as a mob boss who has used Tom’s handiwork over the years. Kapelos is best remembered as the world-weary, cynical janitor in “The Breakfast Club.”

That was a LOT longer than ten years ago, campers.

“First Round Down” stumbles and drags long before the “First Period” (hockey-game chapters separating the segments of the story) has ended. The film, now on Amazon and other video streaming platforms, never settles into the tone that works — jokey, slapshticky.

Sentiment interrupts, with sappy solo guitar underscoring those moments. The violence is necessary to the plot, but in the quite-violent finale, it sours the picture. The whole affair would have worked better if Tom had just turned his hockey enforcer skills to mob collector work. Fists and beatings lower the stakes, but are funnier that “Two Gun Tom” hitman work.

That brawler-paid to-brawl idea better fits the story and would have made the “Grosse Pointe” ripoff less obvious.

And the film’s Canadian content might have scored more laughs, north and south of the border, had the Butlers played around with that more. I lived on the edge of Canada in North Dakota and Alaska, and the differences between the cultures are both telling and occasionally hilarious, and generations of Canadian writers, comics and actors have made their fortune finding what’s funny “up there” and selling it both at home and in the U.S.

What the filmmakers here have made instead is a movie with some moments, built on a framework that’s worked before and will work again. You just wish they’d workshopped more jokes into this script and taken their story in more amusing directions.

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MPAA Rating: unrated, violence and profanity

Cast: Dylan Bruce, Rachel Wilson, Rob Ramsay, Peter MacNeil, Pedro Miguel Arce and Joel Thomas Hynes.

Credits: Written and directed by Brett M. Butler, Jason G. Butler. An Unobstructed View release.

Running time: 1:36

 

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Preview — The coolest new trailer in theaters? Action packed “Anna”

French director turned producer/mogul Luc Besson likes them young and thin.

Yes, I’m being a tad crass because, well, that is Monsieur Luc in a nutshell, his “M.O.” — “La Femme Nikita,” “Lucy,” “Columbiana,” he married his “Fifth Element” starlet, Milla Jovovich and put her in “The Messenger” (the Joan of Arc movie). “The Transporter” movies are a veritable catalog of skinny models in jeopardy.

And who did he have “Leon: The Professional” protect? Natalie Portman.

Hey, I can say this because I have interviewed Msr. Luc several times and I know this guy’s game, as well as his action-pic bonafides.

“Anna” features runway-ready Sasha Luss as the skinny-but-deadly assassin. Cillian Murphy, Oscar winner Helen Mirren and Luke Evans are also in the cast of this June 21 action sleeper.

The trailer will pin your ears back, just like “Lucy.” Only with a better actress in the title role (“Lucy 2” is in the works).

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BOX OFFICE: Will “Hellboy” get clocked by “Shazam!,” will “Missing Link” be MIA?

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Expectations are low, loooooowwww for the Lionsgate reboot of “Hellboy.”

Box Office Mojo says the second weekend of Warners/DC’s “Shazam!” should wipe the harbor floor with David Harbour’s take on the comic book character from Hades. A $22 million to $16 million weekend is what Mojo predicts.

I saw the tail end of one showing of “Hellboy” (catching the post-credits tease) with maybe a dozen ticket buyers in a rural Fl multiplex, and caught the rest of it at anothe showing, with maybe five people in the Thursday night “soft opening” of the film. No word from Deadline as to what last night’s shows produced nationwide.

Maybe it’ll do better than that, as premium ticket pricing and some theaters offers a 4D splash blood on your face (RPX “misting?”) experience. I think $20 or so, and that could make it close, as “Shazam!” isn’t interesting enough to pull a big second weekend, with a 60% drop pre-ordained.

Variety, I see, agrees — although it figures “Shazam!” will hit $24, 25 and thus still top the weekend with relative ease.

As I feared, when Lionsgate didn’t preview “Hellboy” in most markets (Hey, Orlando is in the NBA playoffs — we’re MAJOR), “Hellboy” sucks. A veritable “fecal matter weather event” of a fiasco was the phrase I turned in my review. What a disorganized, dull debacle.

Issa Rae is all set to be the New Tiffany Haddish (Black Girl Magic/Comic) if “Little” blows up. It could do $16 million, so that’s a win. The movie isn’t all that, but she is funny in it. Occasionally.

“Missing Link,” the weakest link in the Laika Studios animation chain of releases, is predicted to do about $10 million, despite having stop motion animation (the BEST animation) and despite featuring Hugh Jackman, Zach Galifianakis, Zoe Saldana and Stephen Fry in the voice cast. Not a “brand,” the second “Bigfoot” cartoon (after “Smallfoot”), etc.

It’s on a lot of screens, so a bigger take is possible. Variety thinks $14 is within reach.

“After,” a limp/wimp teen romance, just carnal enough to attract teens just clearing  tweendom, is expected to manage $4 million this weekend. Or if you’re reading Variety, $3 million.

As the second weekend of “Unplanned” was a box office nosedive, despite adding a third more screens, the abortion drama I have gotten so much intemperate hate mail about (the review is pretty intemperate, too — with cause) is losing screens to those three new releases and disappearing from the top ten if not in the hearts of its adherents.

 

 

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Preview — Worst trailer, worst idea for a comedy, worst move by Dave Bautista? “My Spy”

STX scored with a pretty good Civil Rights drama, “The Best of Enemies.” But the still-making-startup-mistakes studio is churning out too much s#%t like this. To be blunt, understand, and in the hopes that they set their sights higher.

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Movie Review: Awww Heck, they killed “Hellboy”

 

hell2The “Hellboy” reboot is a fecal matter weather event film fiasco, a gory ill-conceived debacle that drives a stake through the heart of the franchise, no matter how many post-credits “teases” the producers tack on.

For the record, there are two. For the record, you won’t want to stay all the way through those credits to see them. Unless, of course, you want to take names and troll assorted producers, stars, writers and effects crews that had the misfortune to put their names on this disaster.

Let the record also reflect that David Harbour is no Ron Perlman, the first and only big screen “Hellboy,” a crimson, de-horned, dismayed superhero from Hell. Harbour’s big and bulky, but not quite funny, no matter how many chances (not that many) the dreadful script gives him.

Still, we meet him in promising circumstances. He’s on a mission to Mexico to retrieve a rogue agent. He’s already famous. Being red and having a tail will do that for a guy.

The former colleague is now a luchador, a masked Mexican wrestler. And he’s been possessed by a demon. So Hellboy has to best him in the ring to accomplish his quest for the B.P.R.D — the Bureau for Paranormal Research and Defense.

But hell, let’s cut to the chase. “Hellboy” goes wrong BEFORE this introductory brawl. A Pythonesque prologue, narrated by Ian McShane, takes us back to the hellish past when The Blood Queen (Milla Jovovich) was beheaded by King Arthur, dismembered, her parts scattered all over England’s green and pleasant woodlands.

Hearing Jovovich, a corpseless head, scream about revenge as she’s carried off may be the funniest thing since “Tis but a FLESH wound. Have at YOU!” To complete the Monty Python reference.

The movie that follows is all foreboding, warnings (“The End is coming,” but not soon enough.), duels with giants, treacherous allies and demons out to fetch all of the Blood Queen’s body parts so she can bring about The End Times.

McShane plays the grizzled professor/agent who found Hellboy as a Hellbabe, thanks to the Nazis and Rasputin. That makes him “Dad.”

Sasha Lane (“American Honey”) is a rescuer/sidekick, Daniel Dae Kim is a fellow agent and everybody else we’ll leave out of this because, heck, they’re going to want to work again.

 

 

The fights are kind of fun, even if Harbour can’t quite pull off the world-weary profanity that showed us how perfect Perlman was in the part. Seriously, if you watched “Stranger Things” and thought, “The SHERIFF is the charismatic heavyweight we can turn into a hero,” you have more foresight than me.

Jovovich loves playing villains, but “Revenge is the only sustenance I need” doesn’t do it for evil empress of the underworld banter.

Thomas Haden Church is the only performer who gets away unscathed, a dorky, long-in-the-tooth early superhero Nazi fighter named The Lobster. He eats up corny dialogue and honks it out with style.

British director Neil Marshall usually has better luck with single-word titles — “Descent,” “Centurion.” Here, he was so dismayed at what he’d put his name on that he planted this story about what the set was like, what tools the producers were, how Harbour treated him and what a mess was made that wasn’t really his fault, says he.

Somehow, mere words describing screenwriter Andrew Cosby’s incompetence won’t do the trick. So I’ll just post a link to this.

I liked the original “Hellboy.” Not a lot, but with Perlman, David Hyde Pierce and director Guillermo del Toro, it had its moments.

The new “Hellboy” feels like the end of the road for the character and the franchise, no matter how many post-credits teases they give us, no matter how old and not-long-for-this-business the idiot producers who still own the rights, and who put this mess out there might be.

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MPAA Rating:R for strong bloody violence and gore throughout, and language

Cast: David Harbour, Ian McShane, Milla Jovovich, Sophie Okonedo, Thomas Haden Church, Sahsa Lane, Daniel Dae Kim

Credits:Directed by Neil Marshall, script by Andrew Cosby, based on the comic book. A Lionsgate release.

Running time: 2:00

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