There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
Since Edgar Rice Burroughs' novel A Princess of Mars was published nearly 100 years ago his otherworldly tale story has been subsequently been reworked and riffed on by nearly every sci-fi book or movie to follow. Star Wars Dune Avatar—sift through filmmaker interviews and it's easy to find threads tying their inspiration back to Burroughs. Which makes John Carter the big screen adaptation of Princess of Mars particularly surprising. The film's epic presentation of Martian races colliding in battle could feel stale but instead blossoms with color imagination and fun. Director Andrew Stanton (Finding Nemo Wall-E) has a strong sense of what makes "adventure" adventurous helping John Carter encapsulate everything about a great time at the movies.
John Carter (Taylor Kitsch) a Civil War veteran with the entire Confederate army on his tail finds himself mysteriously transported via a magic cave (or alien technology? If you get caught up in these details John Carter may not be for you) to smack dab in the middle of a Martian desert. As Carter overcomes the planet's gravity a physical difference that allows him to leap tall structures in a single bound (sound familiar?) he runs into one of Mars' many races: the eight-foot tall four-armed green Tharks. As their prisoner/friend/specimen John Carter takes a back seat to the unique world of the Thark world full of clockwork architecture and airships archaic customs and political strife. The Tharks are in the midst of a 1 000 year battle with the humanoids of Zodanga led by the villainous Sab Than (Dominic West) who is in turn manipulated by the occasionally-invisible shapeshifter Matai Shang (Mark Strong). The Tharks have teamed up with the residents of Helium including the stunning scientist warrior Dejah Thoris (Lynn Collins) but doom is impending and quickly the Spartacus-esque Thark fighter Tars Tarkas turns to Carter for help.
Unlike Avatar which introduced its fantastical world using the safety net of a simple archetypical story John Carter has no reservations bombarding its audience with plot and intrigue. At times the specifics of the world's complex societies and strifes are complicated and confusing but similarly to info-heavy scripts—think the recent Michael Clayton or Margin Call or heck Shakespeare—Stanton Mark Andrew and Michael Chabon's screenplay feels assured of its own drama confident that no matter your understanding the theatrics will sway you. The human element of John Carter exists behind even the most CG-ified alien creature and that's what keeps us on board.
If there's any misstep it's in the casting of Kitsch a fully capable action hero unconvincing as survivor of the Civil War. Kitsch feels pulled from present day but John Carter needs to be a Confederate soldier in more than name. Kitsch is up to the task of ripping up white apes with giant steel blades or jumping over armies of raging Tharks but in scenes of introspection or humorous back-and-forths he loses footing. The real star is Collins as Dejah Thoris who nails the epic qualities of reciting enjoyably ridiculous Martian-speak. She stands out even in the blinding desert sun and even when decked out in over-the-top boobage costuming manages to deliver a compelling and rousing performance. Doesn't hurt that she knows her way around a swordfight or two.
With John Carter moving at lightning speed investing in the film's handful of characters becomes a difficult task but talented folk like Willem Dafoe and Samantha Morton bring zest to characters on par with James Cameron's Avatar creations. And with such a strong background in animation it's no surprise that Woola John Carter's scrappy space dog sidekick is as realized and tangible as the rest of the gang. The scrappy six-legged critter adds humor to John Carter born completely out of the moment. Don't confuse this with the Star Wars prequels—nothing cutesy or ham-fisted here.
A streamlined John Carter would have really popped but as a first live-action effort for Stanton the fill is still something to behold. With breathtaking design sweeping action and a score by Lost Star Trek and Pixar vet Michael Giacchino that finds perfect balance between Lawrence of Arabia and Indiana Jones the film works as an immersive cinematic experience that will have you "ooo-ing" and "aaa-ing." If you step into John Carter you'll likely find yourself transported to another world—it beats trying to find a magic cave.
The 2012 Producer's Guild of America Awards are approaching, celebrating both Theatrical Motion Pictures and Long-Form Television with a new batch of nominees that the PGA has just released. Many of the films are no surprise—crossovers with the upcoming Golden Globes nominees abound. For theatrical motion picture include The Artist, The Descendants and Midnight in Paris; nominees for animated theatrical motion picture include Rango and The Adventures of Tintin.
The television nominees also offer some unsurprising names, including Mildred Pierce, Downton Abbey, Parks and Recreation, Boardwalk Empire,Game of Thrones, Mad Men and The Colbert Report.
Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures
Producer: Thomas Langmann
Producers: Judd Apatow, Barry Mendel, Clayton Townsend
Producers: Jim Burke, Alexander Payne, Jim Taylor
THE GIRL WITH THE DRAGON TATTOO
Producers: Ceán Chaffin, Scott Rudin
Producers: Michael Barnathan, Chris Columbus, Brunson Green
Producers: Graham King, Martin Scorsese
THE IDES OF MARCH
Producers: George Clooney, Grant Heslov, Brian Oliver
MIDNIGHT IN PARIS
Producers: Letty Aronson, Stephen Tenenbaum
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt
Producers: Kathleen Kennedy, Steven Spielberg
The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures
THE ADVENTURES OF TINTIN
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Producer: Denise Ream
KUNG FU PANDA 2
Producer: Melissa Cobb
PUSS IN BOOTS
Producers: Joe M. Aguilar, Latifa Ouaou
Producers: John B. Carls, Gore Verbinski
The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures
BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST
Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion)
BILL CUNNINGHAM NEW YORK
Producer: Philip Gefter
Producer: Simon Chinn
Producer: James Gay-Rees
Producers: Cameron Crowe, Michelle Panek
The David L. Wolper Producer of the Year Award in Long-Form Television (Movies of the Week and Miniseries)
CINEMA VERITE (HBO)
Producers: Zanne Devine, Karyn McCarthy
DOWNTON ABBEY (Masterpiece) (PBS)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame
THE KENNEDYS (ReelzChannel)
Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow
MILDRED PIERCE (HBO)
Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon
TOO BIG TO FAIL (HBO)
Producers: Carol Fenelon, Jeffrey Levine, Paula Weinstein
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
30 ROCK (NBC)
Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Jeff Richmond, John Riggi, Don Scardino
THE BIG BANG THEORY (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady
Producers: Ian Brennan, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Kenneth Silverstein
MODERN FAMILY (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Jeff Morton, Jeffrey Richman, Dan O’Shannon, Brad Walsh, Bill Wrubel, Danny Zuker
PARKS AND RECREATION (NBC)
Producers: Greg Daniels, Dan Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael Schur
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
BOARDWALK EMPIRE (HBO)
Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter
Producers: Sara Colleton, John Goldwyn, Chip Johannessen, Robert Lloyd Lewis
GAME OF THRONES (HBO)
Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss
THE GOOD WIFE (CBS)
Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker
MAD MEN (AMC)
Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew Weiner
The Award for Outstanding Producer of Live Entertainment & Talk Television
THE COLBERT REPORT (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers eligibility pending arbitration completion)
THE ELLEN DEGENERES SHOW (Syndicated)
Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Ed Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt
REAL TIME WITH BILL MAHER (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
SATURDAY NIGHT LIVE (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
THE 64TH ANNUAL TONY AWARDS (CBS)
Producers: Ricky Kirshner, Glenn Weiss
The Award for Outstanding Producer of Competition Television
THE AMAZING RACE (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
AMERICAN IDOL (FOX)
Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Fuller, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick
DANCING WITH THE STARS (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur, Rob Wade
PROJECT RUNWAY (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
TOP CHEF (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
The Award for Outstanding Producer of Non-Fiction Television:
30 FOR 30 (ESPN)
Producers: John Dahl, Connor Schell, Bill Simmons
AMERICAN MASTERS (PBS)
Producers: Susan Lacy, Julie Sacks
ANTHONY BOURDAIN: NO RESERVATIONS (Travel Channel)
Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale
DEADLIEST CATCH (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, John Gray, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner
UNDERCOVER BOSS (CBS)
Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Johnson, Stephen Lambert, Allison Schermerhorn
ANDERSON COOPER 360º (CNN)
BBC WORLD NEWS AMERICA (BBC)
NBC NEWS WITH BRIAN WILLIAMS (NBC)
THE RACHEL MADDOW SHOW (MSNBC)
60 MINUTES (CBS)
MONDAY NIGHT FOOTBALL (ESPN)
REAL SPORTS WITH BRYANT GUMBEL (HBO)
SPORTS CENTER (ESPN)
30 FOR 30 (ESPN)
2010 FIFA WORLD CUP (ABC / ESPN / ESPN2)
U.S. OPEN TENNIS CHAMPIONSHIP (CBS / ESPN2 / Tennis Channel)
DORA THE EXPLORER (Nickelodeon)
PHINEAS AND FERB (Disney Channel)
SESAME STREET (PBS)
SPONGEBOB SQUAREPANTS (Nickelodeon)
ASK A NINJA (blip.tv)
THE GUILD (WatchTheGuild.com)
PARKS AND RECREATION PRESENTS: "APRIL AND ANDY'S ROAD TRIP" (NBC.com)
30 ROCK PRESENTS JACK DONAGHY, EXECUTIVE SUPERHERO (NBC.com)
WEB THERAPY (LStudio.com)
*These programs were not vetted for producer eligibility this year but winners in these categories will be announced at the official ceremony on January 21st.
Source: Producer's Guild
Summer 2011 has been solid, if unspectacular – both for us moviegoers and for “them,” the studios. We've had enjoyable, quality-leaning popcorn fare like X-Men, Thor and Super 8 – and there's still hope for Cowboys & Aliens and Harry Potter, among others. Meanwhile, “they” have had dependable, albeit predictably subpar, blockbusters in Pirates 4 and The Hangover Part II, with shoo-ins like Transformers, Zookeeper and Captain America yet to come. It's all rather ho-hum in the end – and worth raising the question: With summer 2012's almost weekly barrage of event movies and guaranteed megahits, is summer 2011 the appetizer to its entree (er, the iPhone 4GS to its iPhone 5)? Here's why we ask.
Superheroes The Dark Knight Rises: Add up all the excitement over every movie this summer, and it still wouldn't equal that of the Dark Knight sequel, more than a year before its release. Even a minor casting tidbit can generate major traffic for movie sites and send the twitters atwitter – and such immeasurable buzz is how excitement is gauged these days. It's just part of what makes The Dark Knight Rises the most anticipated movie of next summer, if not all of 2012. (7/20/12) The Amazing Spider-Man: The completely overhauled franchise seems a risky proposition for Sony/Columbia: The budget isn't really changing all that much, but the names (Andrew Garfield's isn't exactly household) and storyline are, with the focus shifted toward Peter Parker's younger days. Still, moviegoers aren't going to turn down a superhero flick of this magnitude during summertime, and it's not like we're talking about a Spider-Man musical or something. (7/3/12) The Avengers: Iron Man, Thor, Captain America, the Hulk and others from the Marvel universe – with Geekus Christ himself, Joss Whedon, behind it all? It's orgasmic for comic-book nerds, sure, but make no mistake: Even the most casual moviegoers have been excited since the announcement of this Ocean's Eleven of superheroes. Not bad for the FIRST. MOVIE. OF. THE. SUMMER! (5/4/12) Adaptations Battleship: We're a little uneasy about the whole board-game-adaptation thing, but Monopoly: From Boardwalk to Broke this isn't. It's Peter Berg directing, a $200 million budget, and, well, battleship scenes. Plus, we get to see Rihanna try to act, Brooklyn Decker try to act again, and female moviegoers try not to squirm at the sight of Taylor Kitsch and Alexander Skarsgard in their tight naval uniforms – and perhaps out of their tight naval uniforms. (5/18/12) Dark Shadows: Another Burton-Depp-Bonham Carter collabo, another roughly billion dollars for the studio. But Warner Bros. isn't alone in its rabid anticipation: Fans have more than approved the gothic-even-in-PG-movies Burton for this gig, an adaptation of the dark 1960s soap of the same name that deals with vampires, of the non-Twilight ilk. With Depp as the beloved bloodluster Barnabas Collins and Seth Grahame-Smith, who knows a thing or two about making bloodplay fun (read Pride and Prejudice and Zombies, Abraham Lincoln: Vampire Hunter), responsible for the script, there's high hopes for Shadows – and confidence from fans. (5/11/12) Abraham Lincoln: Vampire Hunter: It's hard to believe that it's been almost 150 years since Abe Lincoln's assassination, and we're seeing a movie about his days as a vampire hunter before his biopic; at this point, it's also more exciting. Based on Seth Grahame-Smith's bizarro Lincoln novel of the same name (he also co-adapted the screenplay), Vampire Hunter looks to be one of the most original – even though its story isn't – offerings of the crowded season; it's certainly got the most self-explanatory title. Expect bloody, gory fun. Lots of it. (6/22/12) Snow White and the Huntsman: The first of roughly 200 opportunistic modern-day takes on the ol' Grimm bros fairy tale (we can thank Tim Burton' Alice in Wonderland for the oh-so-slight uptick in greenlit fairytale movies) coming your way, Huntsman promises to be the darkest of the bunch – you know, death, revenge and stuff. And while that's not necessarily quite enough for us to get overly excited, Universal had millions at “Snow W--”. The fact that it stars Kristen Stewart in the title role is icing. (6/1/12) ="">
="">="">Animation Madagascar 3: All the main players are back for the third installment in this DreamWorks cash cow, and there's no reason to think fans' excitement – or the movie's resultant box office – will wane whatsoever. One little twist, however (and frankly, one of the weirder indie-mainstream marriages in ages), that those who don't fall in the target demographic might find interesting: Noah Baumbach, of angsty, artsy drmedies like The Squid and the Whale, wrote the screenplay! (6/8/12) Brave: There's an all-encompassing keyword attached to Brave – one that piques excitement, promises quality and Oscar nominations, and instantly drums up hundreds of millions of virtual dollars at the box office: Pixar. The studio's first fairy tale epic promises darker undertones than we're used to seeing, and tells the story of a Scottish warrior heroine. And did we mention it's Pixar? (6/22/12) Ice Age: Continental Drift: More of the same from this verrrrry outdated (get it? Ice Age? Sorry.) franchise, with some J. Lo-voicing action thrown in, because she was relevant again when this thing was filming. Ice Age might not seem worthy of a mention on our list – not many people penciled it in to their iPhone calendars when it was announced a couple years ago – but for its built-in blockbuster powers, we had to. Oh, and it's in 3-D! Don't see much of that very much these days. (7/13/12) Sequels* The Bourne Legacy: It lost Damon and Greengrass, but the Bourne franchise soldiers on with truly two of the most sensible replacements imaginable: Oscar nominees Jeremy Renner (The Hurt Locker) and Tony Gilroy (Michael Clayton) as star and director, respectively. That is just about the least amount of drop-off conceivable after losing the aforementioned titans – and they may even bring something to the table that Damon and Greengrass couldn't. Be excited. (8/3/12) MIB 3: This could best be summed up thusly: No one (except perhaps Columbia Studios and Will Smith's team of accountants) was itching for a third Men in Black installment, especially a full decade after the previous MIB – but the relative lukewarm excitement towards it trumps the hell out of any of this summer's threequels (or fourquels or fivequels). Granted, about 75 percent of said lukewarm excitement is due to the fact Flight of the Conchords' Jemaine Clement is in it, but still. (5/25/12) *Also see: The Dark Knight Rises, Madagascar 3 and Ice Age: Continental Drift
Miscellaneous The Dictator: No one knows what this thing is about – Paramount's synopsis doesn't provide much insight: “the story of a heroic dictator who risked his life to ensure that democracy would never come to the country he so lovingly oppressed” – and that's rather refreshing. We do know that it re-teams star Sacha Baron Cohen and director Larry Charles (oh, and Megan Fox), so it's fair to expect something controversial and envelope-pushing, something between R-rated sociopolitical satire and, well, Borat. And that's nice to see nestled between superhero movies. (5/11/12) Ted: Family Guy creator Seth MacFarlane brings his boundary-pushing brand of humor to the big screen for the first time as writer, director and voice star of Ted. In the live action/CG-animated comedy, he tells the story of John Bennett (Mark Wahlberg), a grown man who must deal with the cherished teddy bear who came to life as the result of a childhood wish…and has refused to leave his side ever since. If that all sounds press release-y, it should. But we're sold. (7/13/12) Prometheus: What started as a quasi-prequel to Ridley Scott's Alien turned into ... something else. The plot is being kept heavily under wraps, but everything that is known (i.e., a cast including Noomi Rapace, Charlize Theron and Michael Fassbender; a script co-written by Lost's Damon Lindelof; and Scott's penchant for BIG movies) is confidence-inspiring. The probability that Prometheus is at least heavy on outsize sci-fi-ness only helps. (6/8/12) Also... What To Expect When You're Expecting: It's been a New York Times bestseller for almost three decades now – why NOT make it into a movie?! Who cares if it's essentially an instructional book?! Cameron Diaz and the recently cast J. Lo star in what is more or less a Mother's Day gift and a male punishment. (5/11/12) Rock of Ages: The Tom Cruise-starring musical you keep hearing about, based on the Broadway hit of the same name and directed by Adam Shankman, who did the same thing with 2007's Hairspray. It's Tom Cruise's last shot at a return to pre-couch-jump stardom. 'Til Mission: Impossible Ghost Protocol. (6/1/12) I Hate You, Dad: The obligatory summer “comedy” from truly the most consistent box office star in the world, Adam Sandler. Should be eh-mazing, again. (6/15/12) Jack the Giant Killer: The Usual Suspects team of Bryan Singer and Christopher McQuarrie reunite for this quasi-take on Jack and the Beanstalk. Which means it'll probably be different from their last collaboration, Valkyrie. Which means it'll probably be good. (6/15/12) Here Comes the Boom: See I Hate You, Dad, above, and replace “Adam Sandler” with “Kevin James.” And subtract “the most consistent box office star in the world.” (7/27/12) Total Recall: This one exciting for us fans of the somewhat unappreciated Schwarzenegger sci-fi original. Colin Farrell plays the Ahnold part, with Underworld's Len Wiseman directing. As for the tri-boobed prostitute, we have a lot of casting ideas, but that's a whole other feature. (8/3/12) G.I. Joe 2: Cobra Strikes: The Rock slides into this mother of all unwarranted sequels – from the guy who directed the mother of all unwarranted biopics, Justin Bieber: Never Say Never. And it'll still be a blockbuster! (8/10/12) Southern Rivals: The blockbusterist comedy is saved for last in summer '12. Two of the genre's biggest names, Will Ferrell and Zach Galifianakis, play political enemies in this one. It remains to be seen what kind of effect this will have on the presidential election a few months later. (8/10/12) The Expendables 2: Sly Stallone won't be returning to the director's chair for this one. Everything else is seemingly identical to the original – maybe even the plot. (8/17/12) ="">
The New York Times today poses the question: Can a movie studio make money on a film based on an original and unfamiliar story, with no Hollywood superstars, a vanishing DVD market and a price tag approaching $500 million?
The paper is of course talking about Fox and James Cameron's Avatar, the long-anticipated feature return for the Titanic director. And, although skeptics abound, Fox, says the NYT, believes it can turn a profit on one of the most expensive movies ever made -- in part because it was Cameron at the helm of 1997's Titanic. Prior to that film's release, many pegged it as a sinking ship and not the eventual blockbuster it became.
But just in case box-office receipts for Avatar fall short, Fox has worked hard to hedge its large bet on Avatar, says the NYT.
The film may carry surprisingly little financial risk for Fox's parent company, News Corp, even if it disappoints, thanks to shifting industry economics, reliance on outside investors and help from a network of allied companies and in-house business units.
The final cost of the film has not been tallied, but published reports have put the production budget at more than $230 million.
The price tag would be higher if Cameron's (and others') financial contribution were included. When global marketing expenses are added, Avatar may cost its various backers $500 million, the NYT surmises.
At what point the various partners would see profit from the film depends on what share of revenue each receives from theatrical and ancillary. If domestic ticket sales reach $250 million, a level broken in the last year by five films, Fox and its allies would appear to be headed into the black, the NYT says.
With Titanic, News Corp was at risk for at least half of a production budget that would approach $300 million in today's dollars, and was borne partly by Paramount.
Today, News Corp is carrying a much smaller share of Avatar's production cost. Private equity partners Dune Entertainment and Ingenious Media picked up 60% of the budget, sources told the NYT.
James Clayton, the chief executive of Ingenious, confirmed his company’s backing for Avatar, but declined to discuss the size of its stake.
Other sources said Cameron would give up part of his own participation if production costs exceed a specified level. For example, if final production costs exceed $300 million, Cameron would effectively defer much of his payout until the studio and others were compensated.
Fox's biggest investment in Avatar may be on the marketing side, where the company is planning to spend about $150 million around the world.
But the studio has looked for partners to bear some of that load. IMAX worked with exhibitors to set up a special 15-minute preview over the summer without significant cost to the studio.
Further, Panasonic, in return for using some of Cameron's expertise for its own 3-D home video systems, contributed technological and marketing help.
Still, initial reaction to a conventional trailer was flat, and response to the 3-D IMAX preview provoked doubts about whether the film is really the cinematic game-changer that had been promised.
Taking no chances, the NYT says Fox is backing up Cameron's movie with what an executive recently called the studio's "secret weapon": Alvin and the Chipmunks: The Squeakuel.