Matt Patches
After a few years of working behind the scenes on movies and TV shows (and earning an IMDb page for bragging rights), Movies Editor Matt Patches made a hard right into the world of entertainment journalism. In 2009, Patches became the Associate Movies Editor of, departing in 2010 to go rogue as a writer-for-hire. Patches covered movies and festivals for a number of outlets, including Movieline, MTV NextMovie, CinemaBlend, and Film School Rejects, before joining as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • New in Blu 9.20.11
    By: Matt Patches Sep 20, 2011
    New Releases: Bridesmaids (Universal, 21.99) Click here to but it. Bridesmaids was one of the best comedies of the year and the Blu appears to be jam-packed with special features (as comedy flicks generally are). The disc includes your usual slew of deleted scenes and gag reels, as well as an audio commentary with all the gals and something called "Drunk-o-Rama," which I can only imagine is the greatest thing ever. Happy Endings: Season 1 (ABC, $20.99) Click here to buy it. The Kennedys (New Video Group, $18.99) Click here to buy it. Law & Order:: The Complete Series (Universal, $35.99) Click here to buy it. Mike & Molly: Season 1 (WB, $34.99) Click here to buy it. Star Melissa McCarthy just won a Best Actress Emmy for her role on this show, so maybe it's worth your time after all. Modern Family: Season 2 (ABC, $34.99) Click here to buy it. The season that won Modern Family a second consecutive Best Comedy Emmy. Raising Hope: Season 1 (FOX, $19.99) Click here to buy it. Set Up (Lionsgate, $22.99) Click here to buy it. Bruce Willis, 50 Cent and Ryan Phillippe starring in an action flick? And it's going straight-to-DVD? The movie sports a solid trio, so it may be an interesting watch regardless of quality. Spooky Buddies (Oscilloscope, $23.99) Click here to buy it. Catalog Releases Breakfast at Tiffany's 50th Anniversary Edition (Paramount, $19.99) Click here to buy it. Dumbo (Disney, $21.99) Click here to buy it. The flying elephant is out of the Disney vault—if you're a fan, you better hunt this one down before it disappears for another decade. Le Beau Serge (Criterion, $27.99) Click here to buy it. Les Cousins (Criterion, $27.99) Click here to buy it. Scary Movie 2 (Miramax, $10.99) Click here to buy it. Scary Movie 3 (Miramax, $10.99) Click here to buy it. The Others (Miramax, $9.99) Click here to buy it.
  • The 'Two and a Half Men' Ashton Kutcher Scorecard: Week One
    By: Matt Patches Sep 19, 2011
    S9E1: I don't think anyone could have guessed that, after eight seasons and 177 episodes, Two and a Half Men would be conjuring up controversy, anticipation or excitement. Charlie Sheen's abrupt departure (and subsequent breakdown) was a pop culture nuclear bomb that would have slowly dissipated...had it not been for the high profile replacement search. Show creator Chuck Lorre is a smart man. He kept the fire burning through his casting quest until he landed on an equally shocking, crazed and hilarious choice: Ashton Kutcher, the man with a zillion Twitter followers. So after months of reboot momentum, tonight's the night. The big premiere. So the big question is: can Ashton Kutcher fill Charlie Harper's shoes? As a scholar of sitcom science, I'm going to tune in each week to chronicle Ashton's return to primetime, quantifying the stand-out moments in the show with a calculated points and ranking system. Here's the breakdown: One Charlie Sheen Head (1 - 10 Points): Ashton, you were in this episode. Two Charlie Sheen Heads (11 - 20 Points): Ashton, you landed a few jokes, but we can't stop thinking about good ol' Charlie. Three Charlie Sheen Heads (21 - 30 Points): Ashton, you earned tonight's laugh track. Solid. Four Charlie Sheen Heads (31 - 40 Points): Ashton, we're impressed. You've surpassed Sheen-level kookiness. Five Charlie Sheen Heads (41 - 50 Points): Ashton, you're scaring us with classic levels of comedy. Charlie who? That's that, now on with the first round of the Ashton Kutcher Two and a Half Men scorecard! "Nice to Meet You, Walden Schmidt" 1. Walden appears in the window. Alan throws Charlie's ashes in the air. Points: 7 At the beginning of the episode, Alan finds himself in a predicament: Charlie's dead and no one's around to pay for his house. Cut to a potential buyers montage— featuring random John Stamos and Dharma & Greg (Jenna Elfman & Thomas Gibson) cameos—which would have been an easy place to slip in Ashton's goofy Walden Schmidt intro. But no, we soon learn Walden's a thousand times creepier than that, appearing at Alan at the backdoor in the middle of the night, soaked after attempting suicide. Ashton plays his biggest card up front: the deer-in-headlights stare. But it's no Kelso—more like Robert De Niro in Cape Fear. Creepy...but funny. 2. "I'm Sorry I Made You Spill Him" Points: 6 I was surprised to find that Walden Schmidt isn't the Ashton I know from Dude Where's My Car the back seat of the Punk'd van. Gone is the too-cool-for-school attitude, replaced with a manchild version of Jesse Eisenberg's Mark Zuckerberg in The Social Network. Odd to say, but the show is evolving with Walden, putting Alan in the driver's seat while Ashton acts like a spaced out loon. After startling Alan, forcing him to comically spill Charlie's ashes across the house, Walden quietly sits down next to Jon Cryer's bumbling bachelor to comfort him with the above quote. If there wasn't a laugh track, Ashton's portrayal of Walden might be slightly more uncomfortable. Kind of like the real life Charlie Sheen, actually. 3. "You Bought a Zune?" Points: 8 I'm always down for a good Zune joke, especially when it follows Jon Cryer saying the word "penis." Ashton doesn't have much screentime in this episode (his first appearance is preceded by Charlie's funeral), but he still spins his shoehorned exposition with unexpected comic grace. It's apparent that Walden is modeled after every famous, introverted Silicon Valley-type—including an irrational snappiness. When the subject of the web master's $1.3 billion fortune comes up in conversation (over a few appletinis), Walden takes a jab at Alan for owning a Zune. Completely random, but it does liven the character up a bit, which means we probably won't be seeing mopey, disaffected Ashton for too long this season. 4. Wooing Women with Emotional Damage Points: 5 Later in the lengthy bar scene, Alan and Walden cross paths with two, busty bar patrons (clearly out of Alan's range—Charlie's spirit obviously lives on). You might expect Ashton to lay it on thick here...but you'd only be half right. Somewhat in character, Walden breaks down in front of the women, admitting he's still in love with his wife Bridget. Apparently that's attractive, as the two women become enamored with him. It appeared Ashton was trying hard not to crack up mid-scene, but it didn't stop the moment from working. Really, Ashton Kutcher acting like a sad puppy is the whole reason you hire Ashton Kutcher in the first place. Why do you think he grew the beard? 5. Nude Descending a Staircase Points: 3 In the span of one episode, we're treated to two Ashton Kutcher full-frontal shots. By the last scene, when the gangly, long-haired dude moseys down to the kitchen in his birthday suit (much to Berta's delight), we've seen enough of Kutcher's blurred-out, bare body. While Walden may turn out to be a funny, authentic stretch for the actor, it's bit like this that feel like the easy route. Walking around naked and looking adorable for laughs? That's the Ashton Kutcher I already know. Thankfully, there are signs that, down the line, we may get more of the one hinted at at the beginning of the episode. Total Points: 29 - Three Charlie Sheen Heads! A solid start for the Two and a Half Men reboot. It's definitely the humor we're already familiar with (two fart jokes, one self-pleasure joke and two threesome references), but Ashton adds enough of a twist to make it feel fresh. Oh, did I forget to mention the .5 man Jake? He disappeared for this episode. Make room for Ashton—he's back!
  • 'The Thing' Red Band Is Loose on the Flesh
    By: Matt Patches Sep 19, 2011
    John Carpenter's 1982 film The Thing is easily in the top five scariest movies I've ever seen. From the opening shots—a duo of Norwegian scientists hunting a loose dog for unknown reasons—to the mayhem that unfolds as an alien creature trickles its way through a Arctic research base—every moment in the film is dripping with paranoia and fear. Sure, when the actual monster manifests itself it's terrifying. But even the quietest moments, when a tentacle or pair of slobbering jaws could snap out from nowhere, are equally creepy. I guess that's why not everyone is able to vocally approve of next month's prequel, also entitled The Thing. Hollywood horror doesn't play by the same rules as it did back in 1982—mainly, that there weren't any. Take the Nightmare on Elm Street remake. The original was insane in its own right, but the glossy, music video-style revamp in 2011 lost something in translation to the modern era. It looked nice, but it didn't feel like anything. Could the modern Thing be in the same vein? A new red band trailer has been released for The Thing and it gives off a similar, albeit less extreme vibe. The design of Carpenter's original film remains intact—this modern take revolves around the action of the Norwegians pre-helicopter chase/untimely death—but it's a little more in-your-face-with-a-crazy-monster than the original's hushed, tension-filled approach. The film may work in its own right and that's why I'm filing this under cautiously optimistic (we should be open to remakes after all). The talent is there, including rising starlett Mary Elizabeth Winstead and the intensity-guaranteed Joel Edgerton, but whether the movie can provide authentic chills is what it all comes down to. The Thing hits theaters October 14. Source: IGN
  • CEO Explains Why He Split the Company into Netflix and Qwikster
    By: Matt Patches Sep 19, 2011
    This morning, I received an e-mail from Netflix CEO Reed Hastings that began with two hard-hitting lines: I messed up. I owe you an explanation. Yikes. Not a great way to start a customer service e-mail, but what followed wasn't a surprise. Since July, when Netflix announced that it would be splitting its streaming and DVD delivery services into two separate plans, customers of the industry-changing company have been going ballistic. Forget that the change only cost them a few bucks extra—Netflix had ingrained a business model that people were content with then threw a wrench into the machine. Nobody likes change and they especially don't like change that swipes a few more bucks from their pocket. But Hastings heard the backlash and he wants to bring everyone back into the warm, fuzzy family that Netflix has grown to be. He has to—after an announcement last week that the company had lost subscribers, the Netflix stock plummeted, losing 26% of its value (roughly translating to a loss of 2.8 billion in market capitalization). Clean up work was a must. But it's important to know what's driving Hastings and he spelled it out clearly in his e-mail: For the past five years, my greatest fear at Netflix has been that we wouldn't make the leap from success in DVDs to success in streaming. Most companies that are great at something – like AOL dialup or Borders bookstores – do not become great at new things people want (streaming for us). So we moved quickly into streaming, but I should have personally given you a full explanation of why we are splitting the services and thereby increasing prices. It wouldn’t have changed the price increase, but it would have been the right thing to do. So here is what we are doing and why. Many members love our DVD service, as I do, because nearly every movie ever made is published on DVD. DVD is a great option for those who want the huge and comprehensive selection of movies. I also love our streaming service because it is integrated into my TV, and I can watch anytime I want. The benefits of our streaming service are really quite different from the benefits of DVD by mail. We need to focus on rapid improvement as streaming technology and the market evolves, without maintaining compatibility with our DVD by mail service. So we realized that streaming and DVD by mail are really becoming two different businesses, with very different cost structures, that need to be marketed differently, and we need to let each grow and operate independently. And with a snap of his fingers, Netflix magically became two services: the streaming-only site that will continue on the name brand, and a new site,, that will continue the DVD-mailing service. Besides adding the ability to rent video games, Qwikster doesn't aim to change the formula. If you want discs mailed to your house, sign up for Qwikster. If you don't, stick with Netflix. If you want both, great! Now you have two accounts. Netflix has an eye for the future, but realizes it needs to cater to both the progressive and old school markets. There are people who don't want to deal with the fuss of setting up Netflix's streaming service. My grandma doesn't own an XBox and she doesn't know what "Watch Instantly" means—but she does love getting DVDs in the mail. By splitting the two companies, Netflix hopes to simplify, giving users a clear understanding of what they're in for. Here's how Hastings puts it: Some members will likely feel that we shouldn’t split the businesses, and that we shouldn’t rename our DVD by mail service. Our view is with this split of the businesses, we will be better at streaming, and we will be better at DVD by mail. It is possible we are moving too fast – it is hard to say. But going forward, Qwikster will continue to run the best DVD by mail service ever, throughout the United States. Netflix will offer the best streaming service for TV shows and movies, hopefully on a global basis. The additional streaming content we have coming in the next few months is substantial, and we are always working to improve our service further. Whether Netflix will be able to bring people back to their service(s) is up in the air, but at least they're trying. In a competitive market where everyone wants a piece of the action (I'm sure Hulu is enjoying this nice bit of schadenfreude), Netflix realizes how important we, the customers, are to their plan. For us, it's about the movies—watching great ones, watching whichever ones we want—and as movie-lovers, they're working their butts off to make it digestible. Here's hoping they can. For Reed Hastings full message, check out the Netflix blog. You can contact Matt Patches directly on Twitter @misterpatches and remember to follow @Hollywood_com!
  • 7 of the Worst Ex-Boyfriends in Movies
    By: Matt Patches Sep 19, 2011
    Chances are that, at some point in your life, you've had to deal with the unfortunate situation of breaking up with a significant other. Hey, it happens—and in the best cases, both people move on to bigger and better things. But in the worst cases? You got it: the ex goes crazy. Evil crazy. If you're sitting there reading this, then you've (hopefully) managed to avoid ever experiencing the evil ex or, at least, survived their violent wrath. But there's no sense in risking another encounter with a crazy, spiteful former loved one. Learn from the lessons films have taught us—here are a few of the looniest ex-boyfriends in movies. You may want to avoid anyone that reminds you of these gents: Charlie in Straw Dogs If you're a big fan of Alexander Skarsgard, you may not want to see Straw Dogs. He's excellent in the film, but his character…not so much. Skarsgard plays Charlie, a God-fearing Mississippi gent and former boyfriend of Kate Bosworth's Amy. When Amy comes back to town, Charlie doesn't take kindly to her new Los Angeles beau, proceeding to mentally torture the scrappy screenwriter and, eventually, committing an act of sexual assault against Amy. To be fair, this doesn't seem to be a common Southern welcome. Johnny in Karate Kid It's one thing if your ex-girlfriend starts dating another guy, but it's a whole other karate match when she starts making eyes at a scrawny dude from Newark, New Jersey. Johnny isn't a big fan of Daniel's efforts to court his ex Ali, but instead of brushing it off, he teaches Daniel a lesson using the power of hand-to-hand combat. Jealous revenge in the form of the sweeping of legs. Eirik in In Bruges Bruges isn't a place most of us think about in our lives, but just like the rest of the world, it's home to everything we're accustomed to: suicidal hitmen, dwarf cinema and, of course, angry ex-boyfriends. Colin Farrell's Ray arrives in the Belgian town and quickly strikes up a romance with Chloe (Clémence Poésy), much to the chagrin of her ex-boyfriend Eirik. The anguish of seeing her with another man (and, even worse, someone cut like Colin Farrell) drives him to attack Ray with a pistol full of blanks. Eirik may have been spiteful, but his pain clouded his judgement—in the end, the attack gots awry and Eirik lands an eyeful of bullet. Cal in Titanic OK, so technically they never broke up, but it was pretty apparent that once the Titanic landed New York, Cal and Rose weren't going to be together. Something about that steamy night in the back of a 1912 Renault 35CV… When Cal catches wind of his gal Rose's love affair with scrappy 3rd class Jack, he goes ballistic. Even with the ship starting its descent towards the bottom of the ocean, Cal commits to screwing over Jack, first handcuffing him to a lower level deck, then chosen him around with a pistol upon his escape and eventually abandoning them to escape the boat. The man has priorities, after all. David in Fear Mark Wahlberg loves playing the good guy (see: Planet of the Apes, The Italian Job, Four Brothers, Invincible, The Departed, The Happening, Shooter…), but once he decided to take a walk along the dark path—as an evil ex-boyfriend. Things were going swimingly with Wahlberg's David and Reese Witherspoon's Nicole until David lashed out at one of her male friends, attacking him and giving Nicole a black eye in the process. When Nicole breaks things off, David goes ballistic, damaging her family's property, carving her name into his chest, decapitating her dog and taking her Dad hostage. Chances of getting back to together? Never say never, but... Tal in Nick and Norah's Infinite Playlist Since Norah's boy Tal is more of a friends with benefits than a full-on boyfriend, it makes sense that he'd be just a smidgen less evil than some of the more aggressive perpetrators on the list. Instead of beating Norah's new man friend Nick into a bloody pulp, Tal fights with his words—ugly words, sure—but little blood is shed in the name of former girlfriends. The uglier part comes when Norah realizes Tal's working her for her connections—specifically, her record producer Dad. Scumbug! The Evil Ex-Boyfriends of Scott Pilgrim vs. the World One evil ex-boyfriend is bad. Seven is life-shattering. But surprisingly, it wasn't a deal-breaker for Scott Pilgrim, who contended with the former flames of budding romance Ramona Flowers, one epic battle at a time. Each had their own powers: the ability to summon demon fire dancers, an army of stunt doubles, a razor-sharp belt, freshly-pressed white suits—but through it all, Pilgrim prevailed. No amount of evil can keep true love down.
  • Director Nicolas Refn on Hanging Out with Ryan Gosling and Why 'Drive' Is Like 'Star Wars'
    By: Matt Patches Sep 15, 2011
    After watching Nicolas Winding Refn's latest film Drive (which hits theaters this Friday), I realized that not only was he one of the more fascinating filmmaking voices working today, but that he also had the potential to work his magic for the mainstream. Refn's are gritty and tangible, but never feel tied down to reality. Drive fits that mold, an atypical crime/action movie that dabbles in the surreal, but the film's Los Angeles setting and casting of a recognizable star inherently make the film feel a bit more "Hollywood." Not a bad thing—not every movie can detail the bloody behavior of Vikings (Valhalla Rising) or chronicle the life of a sadistic madman (Bronson)—but Drive is a triumph because Refn never loses any of what makes him unique. I recently had a chance to talk to the director about the making of Drive, collaborating with Ryan Gosling and the film's unlikely connections to Star Wars, New York and The Bible. Matt Patches: Los Angeles is very much a character in the movie Being the setting for so many films, why did you want to set Drive in the city? Nicolas Winding Refn: I didn’t want to shoot Sunset Boulevard. I didn’t want to shoot all the conventional kind of forms, because you’ve seen that so much—and it’s also not very attractive. What’s really attractive are the other parts of LA, which I find really beautiful and unique and strange and mystical. What’s unique about LA is when you get behind all the clichés, LA never left the ‘80s. You guys are still stuck in the ‘80s! Architecture, and things like that. That’s what I really like about it. So when people say, ‘Oh my God! Your movie had this throwback to the ‘80s!’ Well, I didn’t throw it back. I was actually shooting in the ‘80s. Did the movie evolve from this realization that Los Angeles is stuck in another decade? It was born out of an emotion I had driving to Santa Monica with Ryan Gosling to do a movie about a man who drives around at night listening to pop music—that’s his emotional release. He was using that as a basis for everything. The music is a vital part of this movie, integral to the vibe we see on screen. How do you go about finding the music? Do the ideas from the film come from you listening to music? Very much. I don’t do drugs anymore. Music is very much like a drug for me. It gives me images in my mind that I would like to see. Not always understanding them, but knowing, ‘This is what I would like to see.’ How do you discover some of the songs? Can you talk about some of the songs that are in the movie, and how you found them? I have Matt Newman, who edited the movie. He is my in-house editor. He did Bronson for me. We actually met on Miss Marple, when I was broke as hell and needed money. And he was an unknown editor. I hired him for Miss Marple, and he went on and did Bronson for me, [then] we did Valhalla Rising together. Actually, one of my contractual conditions was that I brought Matt Newman over from England to cut the movie at my house. He’s going on to Only God Forgives [Refn’s next film] with me and Ryan, and of course Logan’s Run, and so forth. I always said I wanted an electronic score. He and I would then spend a lot of time figuring out what electronic score would be interesting. Matt is very interested in alternative music and what’s happening in the music world in terms of bands. I’m more just happy finding the greatest hits of Duran Duran. He’s more into what’s happening in the music scene in the corners. He would play various ideas and I would pick the ones I liked. And of course one of them [is] Johnny Jewel, which we had used before in Bronson. And then I had Cliff Martinez (Traffic, Contagion) emulate that sound a lot of the times for his own scores. In the film, Ryan Gosling is a very serious, very stoic guy. I don’t know what he’s like in real life, but how did you know he was right for the part and find this character in his abilities. In real life, he is very much like me. We are very similar in our sensibilities and our interests. He has the physical strength to stop a fight in the street. Yeah, I saw! I just texted him that he’s my hero. But, we’re very telekinetic in a sense. Really… We just kind of let it flow and see what happens. Also, I shoot my films in chronological order, which makes it easier for an actor to just deal with what comes to him. In terms of your relationship working on set: does it involve a lot of asking questions? Or is it all about vibe? It sounds like with telekinesis there might not be a whole lot of talking. I always say to the actors, keep the energy within. Keep it inside. All inside. I heard about you guys spending a lot of time together, hanging out at your house, or driving around in a car. Yeah. We would hang out at my house. We wrote the movie at my house. And we’d drive around at night. My family would come and visit me—unfortunately, they couldn’t live with me—but they would come back and forth. I was very lonely a lot of the nights. I would go for drives to the 101, eat, hang out. We were living the movie. We were living the movie as we were writing it. That’s amazing. Now with this movie and some of your previous work—Bronson and Valhalla Rising, especially—violence plays a major role It’s not gratuitous, but there are extreme moments of violence. What do these moments of violence mean to you? Why do you find them important to pepper them throughout your films? I like extreme emotions. I try to visualize extreme emotions through violence. Like the Bible does. Wow, how do you think that the Bible works, or speaks to that idea? The Bible shows you consequences of your actions visually. Are you a religious person? No. I’m Danish—come on! We believe in pornography. And drinking. Do you feel like there’s a lot of your Danish sensibility in Drive? Even though this is a movie that takes place in L.A. does your Danish side of you creep out? No, because I’m not particularly Danish. I have a Danish passport, but I’m a New Yorker by heart. That’s where I grew up. Oh, excellent! So then I should ask: is there a lot of New York in this movie? That’s an interesting question. I don’t know. I think, maybe, there’s a lot of New York in the sensibilities of loving concrete and loving urban environments and cities. There’s a lot of driving in this movie, obviously (it’s in the title), so what goes into a great car chase? Or making driving look as sexy as it does in this movie? Well, you gotta make every scene that has driving its own self, and not just repeat the same tricks again and again. So, it was like coming up with the fight scenes in Bronson, and how each fight scene would differ the other. Each fight scene has its own character. But they’re quite dull to make. It’s all about logistics. And I didn’t have a lot of money to make these driving scenes, so we had to be really, really on the nose and sparse. There was really no time for experiments. We just kind of shot it… point-of-view, reverse…but things that actually work. So you go with that, and then you try to figure out how you can add a little spice to them. Sound, the sound of the engines, the visuals. And also, don’t make them fly. Don’t make them fly? Yeah. Just like…speed-wise, or what do you mean? The whole CGI thing, where cars can [fly]. That’s interesting because the movie does incorporate its own fantastical elements. Something like the elevator scene—lights going dim, they’re in this out of body moment—it’s slightly less realistic. Is it difficult to weave those moments in when you’re trying to keep the movie grounded? No. It was how the movie progressed. It was like a fairy tale. It became more and more about fantasy. And the audience will believe that if they believe the emotions. We’re like Star Wars. If you catch their emotions, people actually believe hyperspace exists. Valhalla Rising is a very dark, historical film. Something like Drive—it’s elegantly done, but again, it has the violence. So your upcoming Only God Forgives—what kind of genre is that falling into? Or tonally. It doesn’t seem like you want to put yourself in the corner here. I WILL NOT BE CONTROLLED. Well, you know, I’ve always wanted to do a Western. You wanna do a Western? …In Asia. So I thought, I’ll do Only God Forgives there. Gotcha. Are you going to shoot that on location in Bangkok? Absolutely. Shoot in Bangkok. Moving to Bangkok in four weeks. Wow! Is that an exciting thing? I’ve never been. It’s f*ckin’ awesome. Been there five years in a row. We go on vacations—my family—there each year. So, tonally speaking, how will you approach it? Like Valhalla Rising: very dark—and [Drive] is very glamorous or slick at points. What is the tone going to be like for this new one? Well, Bangkok reminds me very much of Blade Runner. That makes sense. So will it have that rainy, blooming lights kind of feel? No, it’s actually the exact opposite. It’s gigantic, beautiful, lights, buildings…everything is lit up. Like a sci-fi world. And scope-wise, is this a bigger film? I see a kind of progression—Drive feels like a bigger production than Valhalla Rising or Bronson. Is that the direction in which you feel like you’re going? Oh, no. Only God Forgives is cheaper. But that’s because I’m shooting in Asia. Drive was a little more expensive because I wanted to shoot in Los Angeles. That itself is very expensive. Shooting Valhalla Rising, it was the same thing. And doing Bronson. Drive was shot in seven weeks. Bronson was shot in five weeks. Valhalla Rising was shot in seven weeks. So, it’s a shooting scenario that I’m accustomed to. I’m looking forward to the day where I actually have more than eight weeks to shoot a film. Well, that might be Logan’s Run. I expect nothing else. All that money! Do you think you’ll still have the same control if you start doing more studio-driven work? Or is that part of the deal? When you’re that level, it’s a different game, a different league you’re in. Things have to be financially successful. You have to respect that and understand that. But then, that becomes the trick: how do you make your movie against all obstacles? I wish you the best on that. It might be difficult. You never know! You can contact Matt Patches directly on Twitter @misterpatches and remember to follow@Hollywood_com!
  • Watch 'The Muppets' Trailer Spoof 'Girl with the Dragon Tattoo'
    By: Matt Patches Sep 15, 2011
    No movie is safe from The Muppets—and that's a good thing! Kermit, Fozzie Bear, Miss Piggy, Gonzo and the rest of their eclectic crew return for another round of spoofing, following their send-up of romantic comedies, their minor jab at Green Lantern, their take on The Hangover II and their official trailer with a parody of the epic Girl with the Dragon Tattoo teaser. Riffing on the head-banging Trent Reznor/Karen O "Immigration Song" cover and in-your-face title cards from the upcoming thriller's first spot, the new Muppets trailer spins its own rockin' sonic experience in true Muppets fashion. Sure it's filled with snippets of musical numbers and slapstick, but they're intense musical numbers and slapstick. Check out the new trailer and then watch the original Girl with the Dragon Tattoo teaser for reference: You can contact Matt Patches directly on Twitter @misterpatches and remember to follow@Hollywood_com!
  • James Marsden Shows Off His 'Straw Dogs' Jazz Hands
    By: Matt Patches Sep 14, 2011
    James Marsden stepped into big shoes when he took on the role of David Sumner in director Rod Lurie's Straw Dogs remake—the original 1971 character was played by Dustin Hoffman. Thankfully, that didn't make him any less confident or excited to tackle the part. The actor, whose diverse career includes everything from X-Men to Enchanted to Sex Drive, saw plenty of room to play with the morally ambiguous characters at the center of the grisly revenge tale and saw the remake as an opportunity. I sat down with Marsden to talk Straw Dogs, how he approached the modern interpretation, what it was like working with Kate Bosworth for a second time and, of course, jazz hands. Always bring up jazz hands. You can contact Matt Patches directly on Twitter @misterpatches and remember to follow@Hollywood_com!
  • Try Not to Melt Over Matt Damon in the 'We Bought a Zoo' Trailer
    By: Matt Patches Sep 14, 2011
    If you're one of those people who find themselves crying during sentimental car commercials, I'm warning you: grab a few tissues before taking a peek at the first trailer for Matt Damon's new movie We Bought a Zoo. It's mushy. Good mushy, but mushy. The story centers on Damon's Benjamin Mee, who, fed up with the quibbles of his life, quits his job Jerry Maguire-style and purchases a rundown zoo—complete with lions tigers and a adorable caretaker played by Scarlett Johansson. Of course, people think he's crazy (specifically Thomas Haden Church), but that's how movies work: start unfulfilled, add a this-can't-possibly-be-true-OH-YES-IT-CAN twist and come out on top in the end. When done right, these by-the-books, uplifting tales can be quite powerful. With Matt Damon in the driver's seat, there's little reason to doubt that that will be the case. Coincidentally, he movie's directed by Jerry Maguire writer/director Cameron Crowe, which ensures that scenes of Damon shoveling monkey poo will be set to some classic rock tunes (see: Almost Famous for evidence of great soundtracking, not shoveling monkey poo). The movie hits theaters just in time for Christmas, where Damon is guaranteed to promptly board the award season train. Watch the trailer in HD on Apple. You can contact Matt Patches directly on Twitter @misterpatches and remember to follow@Hollywood_com!
  • Emmys 2011: The Biggest Emmy Snubs in TV History
    By: Matt Patches Sep 14, 2011
    Plenty of solid shows will be competing for top honors at this year's Emmy awards, but (as is always the case), there will also be plenty of solid shows that won't be competing. That's how the cookie crumbles: with countless channels airing countless programs, there will always be quality television that slips under the Academy's radar. But over the course of TV history, there have been a few actors and shows that haven't been simply fallen to the wayside of the Emmys, they've been straight up glossed over. Snubbed. As we approach this Sunday's ceremony, we took a look back at some of the bigger disappointments in Emmy history, the highlights of sitcoms and dramas that, for whatever reason, never earned their deserved statues. Homicide Life on the Street/The Wire Writer/Producer David Simon must have done something horrible in a past life. That seems like the only explanation for a man who's contributed to the world some of the best television of the past twenty years and has rarely seen love from the Academy of Television Arts & Sciences. Simon's 1993 show Homicide: Life on the Street set a new tone for crime procedurals and only acquired a few supporting cast nods in its six year run. His HBO show The Wire is often referred to as the greatest TV show of all time and not once did it garner a nomination for Best Drama. His latest Treme is only in its second season, but from the get-go had critics raving. So far, no love. Will Simon's series forever feel the cold backhand of Emmy snubs? Sarah Michelle Gellar for Buffy Trumpets are sounding for the return of Sarah Michelle Gellar to primetime television (her new show Ringer debuted last night), but it's not because of her starring roles in The Grudge or Scooby Doo 2: Monsters Unleashed. When Joss Whedon decided to to turn his mildly successful horror movie Buffy into a weekly TV show, he found the perfect hero in Geller, equal parts teen drama beauty and rough, vampire butt-kicker. Geller's performance combined with Whedon's snappy dialogue and imaginative plots helped Buffy transcend its home at the WB. Unfortunately, to Emmy voters, it would always be a "show for teenagers"—Whedon picked up nod once in seven season, while Geller never managed a nomination. NewsRadio Former Letterman and Larry Sanders Show writer Paul Sims assembled a dream cast for his broadcast-centric office sitcom, but few would have known that at the time: Dave Foley (Kids in the Hall), Maura Tierney, Stephen Root, Andy Dick, Joe Rogen, Phil Hartman—the talent was in its infancy, but it was there. NewsRadio took a classic format and gave it a youthful edge. The result was five seasons of evolving characters, shorelines and humor, put to an untimely end by the death of Phil Hartman. Sadly, the show only earned one comedy nomination in its five season run: a posthumous, supporting nod for Hartman. An American Family The Emmy award for Outstanding Reality Program was only adopted by the Academy in 2001 and has since honored shows like The Osbournes, Queer Eye for the Straight Guy and Kathy Griffin: My Life on the D-List. But without 1971's An American Family, the idea of docudramas television—or even guilty pleasure trashy reality TV—may never have come to fruition. The show's premise was simple: document a family's life for six months. The show was cut into 12 revolutionary episodes, spawning spin-off series and the cinematic adaptation Cinema Verite, which aired on HBO this past year. How many Emmys was it nominated for? Zip. Desi Arnaz for I Love Lucy Lucille Ball dominated the '50s sitcom scene with her tour-de-force performance of physical comedy, nabbing five Emmy nominations over the six year run of I Love Lucy. But while Ball's Chaplin-esque antics stand-out decades later, would she really be the legendary star she was without her co-star and then-husband Desi Arnaz? Arnaz was the Michael Bluth of his time, the straight man counterpart to Ball's whacked out troublemaker. He's best known for throwing his hands in the air, crying "Luuuuccyyyyy!" and stirring up the occasional "Babalu" musical number, but even Arnaz was prone to jumping into Ball's crazy plots. He was a rock of the sitcom block, yet not once in his lengthy career did Arnaz find himself on the Emmy's list of contenders. Josh Holloway for LOST Until the final season, it was looking like none of LOST's "lead" actors would see love from the Emmys. That is, until star Matthew Fox squeezed one out as the mind-bending drama crossed the finish line. LOST has been the object of The Emmys' affection in all categories, but with talent, it's been severely unappreciative. Case in point: Josh Holloway, James "Sawyer" Ford, never picking up a nod. While Fox's nomination was deserved, Holloway was the show's perfect foil and his work in Season Three, when his relationships with Jack and Kate really evolve, helped turn Sawyer into a three-dimensional character that mostly actors can rarely achieve. Any chance we can go back and just throw him an Emmy after the fact? Ed O'Neill and Katey Segal for Married with Children On the opposite end of the brilliant performance spectrum lies Ed O'Neill and Katey Segal as the crass (but lovable) couple Al and Peggy from Married with Children. The show was the debut sitcom when Fox launched in 1987 and helped define the network as a…a youth-centric alternative to the stuffy mainstream channels. That probably didn't help Married with Children round up award nominations (after 11 seasons, it only gained technical noms), but history will forever have a place for Al and Peggy. At that point, audiences hadn't seen anything that filthy, that wrong—which makes O'Neill and Segal selling it one of the bigger snubs in Emmy history. Lauren Graham for Gilmore Girls Another case where the Academy can't look past the marketing of a show. Gilmore Girls was another WB/CW comedy pegged by most as a small screen interpretation of the "chick flick," light, fluffy and stale. Quite unfortunate, as Gilmore Girls had one of the sharpest wits on TV thanks to the lightning-fast writing of creator Amy Sherman and a charming lead performance by Lauren Graham. The actress' character Lorelai could have been another comedy mom, but Graham elevated her above Reba-style, surface level caricature to dimensional (but funny!) human being. In an era where Desperate Housewives and Sex in the City were dominating the lead actress category year after year, Graham remains one of the hardest working and underappreciated performers of the 2000s. Battlestar Galactica Taking genre television seriously has never been the Emmys' strong suit, but when a sci-fi show takes itself seriously enough, people start listening…and watching. Syfy's Battlestar Galactica felt like a breath of fresh air amidst a sea of cornball, syndicated genre crap, diving head first into heady character drama and political intrigue with a few robots thrown in for good measure. The talent gained plenty of critical response—most notably the stand out performance by Katee Sackoff as the tough, female pilot Starbuck—but, alas, Battlestar was confined (like its sci-fi drama predecessors) to a lifetime of technical awards. Yes, the special effects were dazzling—but so was the riveting drama. The show (and the genre as a whole) could have used the Emmy love. Nick Offerman for Parks & Recreation As the NBC comedy Parks and Recreation prepares for its fourth season (with destiny unknown), we have an important message for the Academy of Television Arts & Sciences: don't you dare let Nick Offerman be a permanent staple on this list. Offerman's Ron Swanson is P&R's head grump, the yin to Amy Poehler's hyper-enthusiastic Leslie Knope yang. While they can often be found butting heads, their continued friendship is the glue that keeps Pawnee, Indiana's Parks Department (and the show) together. Offerman paints Ron with a perpetual frown, usually clouded by his sizable mustache. But once in awhile Ron slips a smile (or, even rarer, a drunken tiny hat dance) and in those few seconds Offerman pulls off a complete 180 and warms audiences' hearts. Parks and Recreation began in the shadow of The Office, but thanks to guys like Ron Swanson, has become the more fulfilling of the two shows.