Author

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 UGO.com, 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 Hollywood.com as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • Jamie Foxx Blue Himself for 'Amazing Spider-Man 2' — PICS
    By: Matt Patches Apr 16, 2013
    We've known for months that Jamie Foxx would segue from his gruff cowboy character Django to what would be one of the wildest Spider-Man villains ever to grace the big screen. Back in November, the Oscar-winner was cast in Amazing Spider-Man 2 as Electro, an evil-doer comprised entirely of electricity. Foxx playing a baddie was easy to believe — Django straddled the moral line and the actor has displayed a broad range in the past. But in the case of Electro, seeing is truly believing. The first pics of Foxx in character have emerged from the set of ASM2 and he's looking quite… blue. Why so sad, Electro? The original Electro character, introduced in 1964, wore a funny green suit and a sparking, yellow mask to match his electrical powers. Obviously, director Marc Webb has opted for something a bit more grounded (as grounded as a guy made of energy can be) by mirroring the 2000s era Electro from the Ultimate Spider-Man comic arc: Now that we know Electro will be some sort of CG creation, enhanced practically with face paint/blue cloth and ultramarine LED lights, the question is, how did he get this way? There are two obvious answers: one, he's an employee of the mysterious Oscorp introduced in the first film. Like The Lizard from Amazing Spider-Man, Electro might be an experiment gone wrong, leaving Foxx's character imbued with superpowers. Second possibility: he's an analrapist, a job that combines the expertise of both an analyst and a therapist, who decided to join the Blue Man group. There's non-comic precedence for this decision and we really don't see why Webb wouldn't want to go this direction. OK, we might be a little obsessed with the return of Arrested Development. For now, sound off on how you think Webb will tinker with the origins of Electro and what he might be after in Amazing Spider-Man 2. An outlet, perhaps? Follow Matt Patches on Twitter @misterpatches More: Why You Shouldn't Mess with ElectroAn 'Office' Nazi Joins 'Amazing Spider-Man 2'Is 'Amazing Spider-Man 2' Planning All Out War From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'Hunger Games: Catching Fire': The 11 Revolution-Worthy Moments
    By: Matt Patches Apr 15, 2013
    Riding the coattails of the 2013 MTV Movie Awards, the first trailer for The Hunger Games: Catching Fire has arrived and, expectedly, lit the Internet aflame. Following suit with the first film's slow burn style, this burst of Catching Firefootage teases the first third of the movie without divulging any of the action. After winning the 74th Hunger Games, Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) return home to a changed world. Their win has inspired revolutionary thinking — and the government isn't too fond of it. Watch the trailer below then check out our full breakdown of the 11 moments that hooked us: Follow Matt Patches on Twitter @misterpatches More: Is This Katniss' B**tch Face? — PIC'Catching Fire' Goes Glamorous with Capitol Couture PortraitsSee Jennifer Lawrence's Elegent Victory Tour Look in 'Catching Fire' From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • '42' Review: Jackie Robinson & His Iconic Career Deserve Better
    By: Matt Patches Apr 12, 2013
    42 proves an important theory on biopics: a historical figure can be too significant for the Hollywood treatment. Jackie Robinson's impact on baseball and race relations in the United States was monumental and writer/director Brian Helgeland's adaptation of the athlete's life goes to great lengths to drive that home. Chronicling most of Robinson's early career, where he quickly jumped from playing in the Negro leagues to the minor leagues to the majors, 42 ham-fists the big picture into Robinson's astonishing climb to success. It lauds Robinson as a Christ-like figure instead of painting him as a human overcoming great odds. The movie demonstrates that Robinson was driven by his love of the game, not a mission of integration. Early in his career, he says to a colleage, "I'm just a ball player." The man replies, "No, you're a hero." There's no denying the man was right, but the movie plays out from his point of view rather than putting us in Robinson's cleats. 42 is a glossy treatment that never gets beyond the text book reading. Chadwick Boseman stars as Robinson, plucked from obscurity by Brooklyn Dodgers General Manager Branch Rickey (Harrison Ford) to become the first African-American baseball player in the Major Leagues. The road to acceptance is expectedly bumpy: Robinson starts at the Dodgers training camp where he's hazed by teammates and townspeople alike. Rickey keeps him in check with routine inspirational speeches, all boiling down to keeping his temper in check and ears turned off to racist remarks. Ignoring the ignorance comes easy to Robinson, miraculous in historical context but making the action 42 a tedious affair. It's one scene after another of Robinson holding strong against white opposition and breaking boundaries with pure talent. Staged in a strangely claustrophobic and theatrical fashion, the movie lacks a necessary fire, even when Boseman, Ford, and Nicole Beharie as Jackie's wife Rachel, are firing on all cylinders. 42 has a lot of filler, with every actor in the ensemble getting their moment of bigotry and subsequent reversal, along with scenes that seemingly go nowhere (an extended scene between Rachel and a babysitter signals danger for Jackie's son, but fails to impact the story). But every didactic stretch of race drama is made up for by one intense scene, perfectly orchestrated by Helgeland on every level. In a game against Philadelphia, Robinson is verbally harassed by Phillies player manager Ben Chapman. Actor Alan Tudyk bravely inhabits the vile role, spewing every racial slur and wisecrack under the sun as Robinson attempts to cope. It's a tremendous sequence that pushes Robinson to his breaking point, a moment with enough drama to sustain an entire movie, as opposed to being the pinnacle of an overwrought life story. There's a fakeness to 42 that overshadows the performances, with '40s baseball scenes enhanced by CG backdrops and a swelling score by Mark Isham that uses traditional violins and trumpets to force emotion down our throats. Robinson, and Boseman as a capable performing bringing him to life, can live on his own, but Helgeland insists on echoing the inherent drama of the ball player's story with Hollywood pizazz. From the film's first minutes, found documentary footage from the early '40s accompanied by voice over from Robinson's personal mythologist, reporter Wendell Smith (Andre Holland), 42 is factory-made biopic. A lively ensemble keep it afloat with Ford's gruff muttering working for Rickey, and T.R. Knight, Hamish Linklater, and Christopher Meloni add a dash of comedic flavor to the droll history lesson. But this is Jackie Robinson! A man whose story deserves a home run, not a bunt. Showing him as a ball player, not a hero, would have knocked 42 out of the park. 2/5 What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes! More: Jackie Robinson Biopic '42' Takes Us On A Trip To The Deep South... of Brooklyn From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Ben Affleck Didn't Get 'To the Wonder' & 7 Other Actor Misunderstandings
    By: Matt Patches Apr 11, 2013
    Making a movie with Terrence Malick is unlike any other experience for an actor. The reclusive director shoots and shoots and shoots, barely relying on a script and pushing his ensembles along with new ideas that he later cuts into the finished project. Ben Affleck, who stars in Malick's latest, To the Wonder, didn't get the memo before signing up. "The experience of [shooting To the Wonder] seemed half-crazy in that we didn't really have dialogue, so I didn't really know what was happening," Affleck told GQ in Dec. 2012. "It was kind of a wash for me in terms of learning something as an actor, because Terry uses actors in a different way — he'll [have the camera] on you and then tilt up and go up to a tree, so you think, 'Who's more important in this — me or the tree?' But you don't ask him, because you don't want to know the answer." Affleck isn't the only actor ever to be left in the dark on a project. Whether it's an actor turning down a movie based on an incomprehensible pitch, reading a script that they couldn't ground in their own reality, or performing in a movie without ever considering the material, actors are routinely in a state of "not understanding." Sometimes it's for the best. Who else couldn't swallow now-memorable blockbusters? Head to our gallery: "Stars Who Just Didn't Understand." Follow Matt Patches on Twitter @misterpatches More: Terrence Malick's 'To The Wonder' Reminds Us (for Better or Worse) of 'Tree of Life'10 Actors Who Almost Played James Bond'Hunger Games': 9 Actresses Who Were Almost Katniss From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'The Hangover: Part III' May Abandon the Formula — TRAILER
    By: Matt Patches Apr 11, 2013
    The Hangover had a pretty ingenious conceit: take the nightmarish scenario of blacking out and waking up with no memories and fit it into the beats of a film noir. Recalling the events of the prior night became a mystery with hints of Raymond Chandler, with the added hurdle of nasty, roofie-induced headaches. The sequel replicated the format of the first movie, but writer/director Todd Phillips seems to be going a bit more straightforward for his third adventure with the Wolf Pack. Judging from the latest trailer, Phil (Bradley Cooper), Alan (Zach Galifianakis), and Stu (Ed Helms) don't suffer any foggy memories. Instead, they're strong-armed into using their detective skills to solve an actual mystery. This time, the trio is enlisted by a vicious mobster (John Goodman) to track down the franchise sidekick Mr. Chow (Ken Jeong). Which means The Hangover: Part III has a lot more Ken Jeong than either of its predecessors. Depending on comedic tastes and tolerance of high screechy voices, that could make or break the movie. While the trailer has a severe lack of Jessica Fletcher, it does seem to go back to the basics of what made the first movie work, with the insanity of Vegas once again playing home to the bumbling trio's antics. Has The Hangover worn out its welcome, or is stripping down the concept refreshing? The Hangover Part III arrives May 24. Check out a new poster for the movie, which showcases the three stars with new and improved eyewear, below: Follow Matt Patches on Twitter @misterpatches [Photo Credit: Warner Bros. Pictures] More: 'The Hangover Part III' Calamity Continues in Two New Clips, PostersThe Wolf Pack Return to Vegas for 'Hangover 3''Hangover 3' Gets a 'Harry Potter' Makeover From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'Hunger Games: Catching Fire': Is This Katniss' B**ch Face? — PIC
    By: Matt Patches Apr 11, 2013
    What is Jennifer Lawrence's Hunger Games: Catching Fire character Katniss Everdeen really thinking in this newly released still? In the beginning of Catching Fire, Katniss returns from her big win at post-apocalyptic nation Panem's annual death match. She managed to outrun burly boys and girls aiming to put a sword through her skull, avoid killing anyone in the process (mostly), and come out the victor — all while pissing off the higher ups for letting her District 12 teammate Peeta (Josh Hutcherson) live. Quite the ordeal. Must feel good to come home and hug her sister Primrose (Willow Shields). But dig a bit deeper into this intimate moment. Remember: Prim's name was originally called for the 74th Annual Hunger Games. In an unprecedented move, Katniss willingly substituted herself for her younger sister. It was basically a death sentence, the chances of Katniss returning home alive being slim to none. If Prim had been sent off to the Hunger Games, she would likely have gone the way of Rue (the little girl in the first movie who kicked the bucket). Prim should be thanking her lucky stars. But she's not! Prim is basically falling asleep on Katniss' shoulder. So while it's easy to read this as a warm, loving embrace between two sisters, you can imagine that older sister Katniss might be a little irked by li'l Prim's attitude. She should be bowing at her feet, not acting casual. Show a little appreciation, Prim! If Katniss was the kind of gal who wore emotions on her sleeve, her reaction here might have been a full on bitch face. Instead, it's a bit more of a poker face, internalizing the everlasting struggle between siblings while making nice for the photo op. So is this just the sweetest picture ever or is anyone else sensing a bit of resentment between Katniss and her unscathed little sis? Project your own sibling rivalries on to the latest look at Catching Fire in the comments. Follow Matt Patches on Twitter @misterpatches MORE:'Catching Fire' Goes Couture: GallerySee Jennifer Lawrence's Elegent Victory Tour Look in 'Catching Fire'TV's Best Bitch Faces  From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • 'White House Down': Roland Emmerich Is Our Guide on the Ultimate Field Trip
    By: Matt Patches Apr 10, 2013
    After wrapping my tour of the set of White House Down, the new movie from destruction maestro Roland Emmerich (Independence Day, 2012), one movie jumped to mind: Russian Ark. Alexander Sokurov's 2002 drama was a history nerd's fantasy come to life, 300 years of Russian culture compacted into one 96-minute film. Sokurov orchestrated it all in one single camera movement, floating through the Russian State Hermitage Museum's Winter palace like a ghost, with costumed characters moving in and out of rooms to showcase the passing of time. It's a mesmerizing spectacle akin to architectural pornography. It's incredible. Russian Ark may be on the other end of the spectrum from White House Down in terms of cinematic goals, but they share a common element. Both movies love their locations. While my experience on the White House Downset promised an excess of action — from shootouts to hand-to-hand combat to a demented car chase featuring Cadillac One — Emmerich's latest is also infatuated with historical fact and architectural accuracy. When we follow Channing Tatum and Jamie Foxx running down the halls in true summer blockbuster style, it won't just be for the tumbles and gun squibs. It'll also be for what's behind it, a stunning recreation of the places we don't see in the White House. Emmerich has a love for the White House. The German director first visited America when he was 12-years-old, and his first stop was to see the grand presidential mansion. Afterward, he caught a drive-in flick: Planet of the Apes. It all makes sense now. The director will always have a connection to the most famous home in America. He did the unimaginable when he blew it up in Independence Day. "There I used the White House as a symbol," Emmerich tells us while waiting for his crew to prepare for that day's filming. "When I destroy it with one 'boom,' people will be really taking the invasion serious. Anything can happen when the White House explodes." Emmerich has returned to the White House out of the pure trip of playing with recognizable monuments of mankind. He won't make an adaptation of a famous character or property because he isn't interested. He likes f**king with the reality that people know. "I don't like comic book heroes or comic book films very much. Because of that, I have to find other ways to find trademark names. Like 2012. Moments in time where it's bigger than life. It gets harder and harder to open a movie worldwide where it doesn't have one of these things. Everyone in the world will understand White House Down." The day I arrived on set in mid-August of 2012, Emmerich was preparing to shoot one of White House Down's calmer scenes, a moment where President James Sawyer (Foxx) greets a group of White House tourists and charms the pants off 'em. It's also where he first meets John Cale (Tatum), a hopeful Secret Service agent, and his daughter Emily (The Dark Knight Rises' Joey King), a rambunctious tween hoping to get a few quotes from the President for her political YouTube channel. Kids these days. They play the scene a few times, Sawyer giving Cale a bit of crap for letting his daughter get out of hand. Emmerich says these character beats are what separate White House Down from the typical action movie (or any other White House invasion movie, for that matter). "It has a very long first act," he says. "Which makes people very nervous. It's a strange thing. There's like this rule that the first act should only be half an hour. Tons of movies, very good movies, have first acts that are like 50 minutes. It doesn't matter how long it is. It has to establish everything the right way." Writer James Vanderbilt thinks that care is what helped movies from the early '90s work. "Most of the '80s were Stallone and Schwarzenegger being totally indestructible," he says. "Then these characters came along who got the crap kicked out of them. The guy who can take a beating and keep coming back, that's what I like. Channing is all about that. He's all about 'beat me up as [much as] humanly possible.'" White House Down is a movie built on passion. Vanderbilt loves the boiled down action concepts, gushing over the usual genre milestones along with Jean-Claude Van Damme's Bloodsport. When he started writing the movie, it poured out of him. A few visits to Whitehousemuseum.org, and he knew enough to spin the wild tale. He was able to let his imagination run wild. "You can do close quarters gun stuff, but you can also do bigger stuff," Vanderbilt says. "There's a Black Hawk assault on the White House, or a tank shoots at the White House… I was able to access the side of my brain that was like a kid playing with G.I. Joes, and [ask] "what if?" Everything in the kitchen sink of 'what could we do to the White House?'" The script had a miraculous evolution into the finished product. Emmerich says he pitched a similar concept 10 or 12 years ago that never went anywhere, so when Vanderbilt's movie hit his desk — after being recommended to him by the head of Sony — he knew it he had to make it. "Sold it Thursday, on Friday we got Roland, on Sunday we sat down with Roland and Harold at their house and they greenlit the movie," Vanderbilt explains. "That was four-and-a-half months ago. And now we're on the porch of the White House." And we really were. The White House set was built in pieces, but the chunk we saw could be explored from the front entrance all the way to the back, with the ability to duck into the kitchen or presidential bedroom before going end to end. It was tangible, detailed, and ready to be destroyed. Kirk M. Petruccelli described his meticulous preparation for recreating the home, investigating wallpapers, rugs, and every nook and cranny to make it a 99% replica — a feat he doesn't believe has been matched on screen. The thought is that an action movie couldn't service that artistry, but Emmerich suggests he's approaching White House Down like he did Anonymous. "[I'm shooting] the movie with a lot of wide angle lenses," he says. "Which is a cool thing. It will look like no other action movie you have seen. Everything looks beautiful. Even when it goes kaput." Sizing down the mayhem was a challenge for Emmerich, and one that demanded more than any of his past movies. Just in terms of stamina. "It is different, because my action was always on a grand scale," Emmerich says. "This is more 'real' action. Gun fights, people fight mano a mano. Totally different thing. I always try to stay away with it because it's the most tedious thing to do in a movie. It's fun in the first rehearsal, but after two days, even the actors who were excited, become slower! It's all these little pieces to make it look real. It takes a lot of time." While the production value is high, don't expect Emmerich to play it safe. This isn't Russian Ark, and not everything is going to survive the twisted adventure Vanderbilt has crafted on the page. Judging from the hulking size of the recreated Cadillac One, an SUV limo that, upon further inspection, was built like a tank by Emmerich's automotive team, Tatum and Foxx will leave a few track marks (and worse) on the White House grounds before the credits roll. Emmerich says that his film is "very irreverent" when it comes to iconic patriotic imagery. "On one hand, you show it exactly how it is. Then you do action scenes in there with an ironic tint to it." So Emmerich won't be blowing up the White House in White House Down. Instead, he's opted for a slow implosion. That's a new platform I can get behind. Follow Matt Patches on Twitter @misterpatches MORE:Channing Tatum Needs a Director Who Knows 'How to Dress and Decorate Their House'See the First Footage from 'White House Down'Jimmy Kimmel Casts Channing Tatum in 'Movie: The Movie 2V' From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • Channing Tatum Needs a Director Who Knows 'How to Dress and Decorate Their House'
    By: Matt Patches Apr 10, 2013
    Channing Tatum is a busy man. We caught the actor on the set of White House Down in August of 2012, a down moment from his year in the spotlight. The actor was riding high from The Vow, 21 Jump Street, and Magic Mike, and only more in demand: he only had an eight week window to shoot director Roland Emmerich's Presidential home invasion action picture because he had two other movies gearing up to shoot and the stars aligned. Tatum's White House Down schedule demanded six-day weeks, 13 to 14 hour days, and an obstacle course of stuntwork. He couldn't be happier. To have figured out a way to do it. "[White House Down] is exactly what I feel like movies should be," the actor says. "We're not curing brain cancer. We're having fun. We're blowing up the White House and doing a bunch of crazy stunts." Tatum cracks a grin recognizable from his performances, but it's 100% genuine. When he talks the madcap race to get White House Down in the can, he's giddy like a kid in the candy store. "This movie's got a bunch of obvious bells and whistles," Tatum says. "I get to set the White House on fire. I think every American has thought about it once or twice. In the fun way, not the demented weird way." He describes White House Down like that the kind of movie where, despite having eight guys firing submachine guns at the hero, he'll survive. He'll get roughed up, sure, but he'll come back swinging. "It's supposed to be fun. You're supposed to feel like you're on a roller coaster." The real draw for Tatum was working with Emmerich, who he praises as one of the most stylish directors he's ever met. That's important for Tatum: a good director needs to be aware of his presence, his look, his swagger, his attitude. "I believe movies are complete mirrors of the director," he says. "If someone doesn't know how to dress and decorate their house, some aspect of that will be missing. It doesn't matter if you have the best costume of set designer." Every emotion bleeds on to screen, and Tatum is keenly aware of this fact. Fashion matters. "It's the viewfinder of the director." Tatum knows that staging a popcorn movie inside the White House could have implications into real world conversations. It's not Emmerich's goal to make a statement with the movie, but the actor says its something he and his director acknowledge. "It's not Hollywood's soapbox to say stuff that someone thinks we want to say," he says. "We're keeping things non-offensive. It falls way liberal or way conservative, it alienates people and their views. I think being aware of that is a responsibility." The duo's real focus is delivering a kick-ass time at the movies. To do this, Tatum has thrown himself into the movie. In one scene, he and Jamie Foxx (who plays the President in the film) are hanging from an elevator shaft, that was built to allow the actors to physically dangle inside it. In another fight scene, Tatum picks up a toaster to wield as a makeshift flail. Fitting for an Emmerich — if the Independence Day director can't blow up the White House, he's going to rip it apart from the inside. "I'm a sucker for this stuff," Tatum says. "I love it. The more they let me do, all do it all. I don't want to fly a helicopter because I don't know how to do that and I don't want to pop a wheelie on a motorcycle because I don't know how to do that, but all the rest of the stuff, I know how to do. And I can do it pretty aptly." Tatum was drawn to White House Down because it injects action with a story he believes audiences will connect to. He thinks the state of genre movies is 'stark' and he's happy to mix it up. As he puts it, "Horror movies just have horror in them. Action movies just have action in them. If we could level it out, movies would get better." He hopes to use his newfound success to leverage these blended concepts. It won't be long before we see Tatum behind the camera. "[My business partner and I] want to direct and produce and more and more get our hands into it," he says. "I'll always be an actor-for-hire, but I want to move into the filmmaking side. Not just directing, but creating in general." Follow Matt Patches on Twitter @misterpatches MORE:Roland Emmerich Takes Us on the Ultimate White House Field TripSee the First Footage from 'White House Down'Jimmy Kimmel Casts Channing Tatum in 'Movie: The Movie 2V' From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • How the 'Mama' Trailer Saved 'Scary Movie V'
    By: Matt Patches Apr 09, 2013
    Making a spoof movie ain't what it used to be. Comparing his latest endeavor, writing and producing this week's Scary Movie V, to his vast body of comedy work, David Zucker admits that life was a bit easier in 1980 when he and his collaborators set off to shoot Airplane!. Widely considered the pinnacle of spoof cinema, Airplane! riffs on a select number of films. It's Zero Hour!, Airport '75, and few dashes of Saturday Night Fever and From Here to Eternity for good measure. The Scary franchise is a different beast. Following in the footsteps of the Wayans' first two Scary Movie films, modern spoofing had a new demand for Zucker when he took over the franchise for Scary Movie 3. "This is the hardest thing to do, to weave together plots from different movies," he says. "You have to make your best guess. In all these movies, we end up reshooting. You have to put it in front of an audience. What happened in [Scary Movie V] is that we used Paranormal Activity, elements of all of them, and Black Swan, and Planet of the Apes. What we found out was, none of those movies had an actual monster. We didn't realize that until halfway through. Fortunately, Mama came along." When Zucker describes the Scary Movie process, it sounds grueling, sporadic, challenging, and ultimately gratifying when a moment of clarity emerges from the chaos. As a true auteur of comedic filmmaking, Zucker has long lived by a listed mantra, 15 rules that help keep him on track as he makes a movie. The glossary earns laughs on its own (terms include "Gilding the Lily," taking a joke so far that it's no longer funny, and "Floocher Dialogue," filler lines recited by foreground characters to enable the audience to focus on a background joke), but they're important to Zucker's approach to making movies. "The rules are just us trying to not repeat the same mistakes," says the producer. "You disobey these rules at your peril… One of the things is, movies have to be grounded in reality. It's something BASEketball didn't have and Top Secret didn't have. They didn't have character arcs." That's why Mama helped reinvigorate Scary Movie V — but not in the scripting stage. "Much later into production we incorporated Mama and even Evil Dead," Zucker says. "We actually spoof the trailer [laughs]. I always say, 'Kids, don't try this at home.'" The producer admits that Scary Movie V began production without an antagonist, a no-no in the Zucker book of comedy. Including the ghastly villainess of that film gave the movie a new arc. "How well a job we did, I can't judge, because I'm right in the middle of it. But for sure, we just really knocked ourselves out trying to make it into a cohesive plot structure. That's what Mama gave us, because Jessica Chastain had such a good character." Don't get him wrong: Zucker prefers a calmer, more structured filmmaking style. He doesn't like endless nights of rewriting and reshooting. In fact, Zucker wasn't even planning on returning to the Scary Movie franchise until two of Hollywood's most influential producers asked him to. "The Weinsteins asked us to do this. They had to make Scary Movie, so I did it," he says. "It's not something I planned on doing, but it's still what I love to do." Working on Scary Movie V with Bob and Harvey Weinstein is a bit of thankless task, rounding up all the ideas that must be in the movie, and piecing them together into something watchable. When asked if it's anything like writing Kentucky Fried Movie, his wonderfully manic sketch comedy film from 1977, Zucker politely says, "Well, that's a theory." "There were some instances where we were directed to throw some things at the screen that didn't fit in the story," Zucker says. "And that's not the right thing to do, so those things didn't work. But we cut them out. No matter how crazy and zany these spoof are, and they're pretty crazy, we still have to obey plot, structure, and character. It has to be coherent. If you take a side track, it won't work." One thing Zucker had little to do with was Scary Movie V's stunt casting, which brings back Scary Movie vet Charlie Sheen, and enlists newbies Lindsay Lohan and Mob Wives star Big Ang. Zucker was happy to reunite with Sheen ("[He's] just a dream to work with. It's like driving a fancy car."). The others… well, he didn't know who Big Ang was, but he made it work. "The studio has this franchise and they know what they want to do with it," he says. "So they have very strong opinions on who they want to cast. And we accommodate that." Zucker laughs at an on-set title he's earned from keeping production on its toes. "They always joke about me because I come in in my scrubs and operate on the patient." The reason Zucker believes he can work in this fashion is because he's well aware of what has and hasn't worked past. One thing that didn't work: his 2008, right-wing skewing An American Carol. "If I had to do it over again… I don't think I ever would have done it," he says. "Again, it has to be more entertainment than preachy. The talking points were too much out front. I just wanted to make it funny." Zucker recalls having an amazing experience making the critically-maligned Carol, which he co-wrote with his writing partner Lewis Friedman (who he points out is "a liberal New Yorker and a far left Democrat!"), and thought would play to all audiences. "We just wanted to make it as funny as we could while poking fun at the left, which nobody does," Zucker says. "People who know me know I'm not that serious about anything. I don't take the politics seriously. I don't think Republicans go to see movies, that's the other thing! It was a misguided thing." With Scary Movie V in the can, Zucker is ready to get back to the movie he originally intended to make before the Weinsteins rang him up. He says it will take its cues from The Naked Gun. "The Naked Gun style is a sane way of doing a movie," he says. He hopes to direct his next script, which preys on popcorn movies in a method akin to his police spoof series (a Bourne-style update, anyone?). He also sees potential in reviving Naked Gun. "You could do another Naked Gun, with a reboot. Like Star Trek," Zucker says. The immediate retort is, really, how could anyone live up to Leslie Nielsen? "There are people who can do that and they're not famous. You wouldn't know who they were. But I know actors who can do it. Again, I think Paramount has an international brand in Naked Gun and I think there's something you can do." For now, he hopes to revive the spirit of Naked Gun rather than the actual property. "There's room for a Naked Gun style. A bumbling guy in a position where he's respected. Leslie Nielsen played Lieutenant Frank Drebin and nobody seemed to have a clue that he's an idiot. I want to do the character, but not the specific [job]. Not Naked Gun." Zucker thinks Scary Movie V survived the turbulent process of tinkering on the fly. He came to the movie prepared to break it, start over, reconfigure, and put it out into the world while looking forward. It's in the rules. "That's another glossary term we have: 'Apollo 13,'" he says. "When your spacecraft is in trouble and you have to get it back alive. So you use spare parts and do anything that you can to save it." So however Scary Movie V is received, he's ready to go back to the drawing board and make new movies. "One of the important things is not to blame other people for your failures (and that goes for regular life too). If a movie tanks, you have to look at what you did and figure out what happened." Follow Matt Patches On Twitter @Misterpatches More: 'Scary Movie 5': Charlie Sheen and Lindsay Lohan Jump in Bed — TRAILERSurely We Didn't Talk to Robert Hays About The 'Airplane!'In The Event Of These Airplane Movie Emergencies... [Photo Credit: Universal Pictures] From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)
  • The 'Star Trek' OMG Face Extravaganza — GALLERY
    By: Matt Patches Apr 08, 2013
    "Holy hell, what is that _________ over there!?!?" Based on the latest crop of pics from director J.J. Abrams upcoming Star Trek Into Darkness, Chris Pine, Zoe Saldana, Zachary Quinto, Benedict Cumberbatch and the rest of the U.S.S. Enterprise crew will be doing their fair share of gasping. The plot of the highly-anticipated, sci-fi sequel has been miraculously kept secret with only a month to go until launch, but a new batch of pics leads us to believe that the movie will be wall-to-wall revelations. For visual evidence that Star Trek is going to be the biggest shocking movie of the summer, check out our gallery of the Star Trek cast's many "OMG Faces." More: 'Star Trek Into Darkness' Could Be the 'Skyfall' of Its Franchise'Star Trek Into Darkness' Trailer: Do We Finally Have An Idea Of Its Plot?New 'Star Trek Into Darkness' Trailer: Faster Than A Vin Diesel Film Follow Matt Patches on Twitter @misterpatches [Photo Credit: Universal Pictures] From Our Partners:Eva Longoria Bikinis on Spring Break (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)