Movies that populated theaters in the '80s and '90s are making a comeback. Some are better than others but since there is a built-in audience, Hollywood is cranking out remakes and reboots left and right.
This practice has been done for years but recently more movies than ever have been redone. March brought 21 Jump Street with skinny Jonah Hill and Channing Tatum. The buddy cop movie was actually funny and has made more than $90 million so far.
Other notable remakes over the last few years include Fright Night, Conan the Barbarian, Karate Kid, Clash of the
Titans, Footloose, Nightmare on Elm Street, Wall Street, Arthur and Die Hard. Out of the nine mentioned, only Fright Night and Die Hard were actually enjoyable (in my opinion).
The worst out of the bunch had to be Clash of the Titans. Cheesy acting and bad 3D effects plagued this Sam Worthington CGI-fest. Worthington did a better job in the ads for the Call of Duty: Modern Warfare 3 video game.
Now an Arnold Schwarzenegger movie is getting another look, and thank goodness it isn’t Junior.
The first trailer for a new Total Recall was released Sunday. No, this isn’t a late April Fool’s joke. The remake to the 1990 Schwarzenegger movie is a real thing, and fans of not only the original but of science fiction in general should be giddy with anticipation.
The remake stars Colin Farrell, coming off of his performance from the 1980s vampire remake Fright Night, with Kate Beckinsale and Jessica Biel taking roles of eye candy. Will there be another three-breasted woman? Fans of the original can only hope. AMC’s Breaking Bad star Bryan Cranston plays the bad guy. The cast alone gives a lot more credit to this remake than most.
We will all have to wait to actually watch the thing to figure out if it’s worthy enough to be considered a decent remake.
In other movie news, the next American Pie installment hits theaters today. To me, this is going to be a paycheck movie. Meaning, the original cast of characters is only returning because they haven’t been in anything major in the last few years. Well, for the exception of Allison Hannigan who has been on the long running show How I Met Your Mother. Expect a lot of dick and sex jokes, which is essentially what the first movie was, but now the cast is much older.
The original American Pie was released in 1999 and was seen as a fresh take on the high school sex comedy. The second added on to that with more outlandish situations — like mixing up lube with super glue. American Wedding was thought to be the ending to Stifler and the gang’s stories — compared to the first and second, it was somewhat of a letdown. Then came the straight-to-DVD American Pie Presents movies. I will admit, though, American Pie Beta House was a hilarious college comedy; women might not want to watch because it focuses on a misbehaving fraternity.
Squeezing film stars for as much money as possible is the norm nowadays with movie franchises – just look at Pirates of Caribbean. Maybe I am jumping to conclusions with American Reunion, but the pie lost its flavor a long time ago.
Here's Ides' official synopsis, the contents of which are readily on display in the tension-laced trailer, which centers heavily on Ryan Gosling's campaign press secretary character:
Now that Sunday night’s Oscars are over, the Internet is full of catty stories and tweets parsing every last second of televised coverage, from Angelina Jolie’s exposed leg to Adam Sandler’s participation in a taped segment in which actors discussed why they love movies. (If he really loved movies, he’d stop making them, some have said.)
It’s both understandable and sad that the Oscars — and movie-award season in general — ends like this, with far more interest in the telecast’s trivia than in the movies that win awards. Arguably, the news value of this year’s show peaked before it even officially started, when Sacha Baron Cohen, in costume as “The Dictator” for an upcoming movie, spilled an urn of faux human ashes (ostensibly Kim Jong-il’s) on interviewer Ryan Seacrest.
It’s getting worse, too, now that the Internet and 200+-channel cable television have educated us ad nauseam to the nature and inner workings of the Oscar campaign season. We carefully learn how a film builds momentum by moving through all the secondary award ceremonies from critics groups and the Hollywood professional guilds and associations.
As a result, the Academy Awards themselves have become anticlimactic, which partially explains the media devotion to dissecting the telecast. And the attempts by the Motion Picture Academy to build false enthusiasm by allowing up to ten Best Picture nominees have been a disaster, since we all now know how to “read” the nominations to distinguish the real ones (they also have Best Director nods) from the padding. Not all that long ago, few outside Hollywood insiders even knew there was a well-orchestrated “campaign season,” much less how to follow and handicap it.
Convention wisdom, and you hear a lot of it these days, would be to revive the Oscar telecast by de-emphasizing the importance of the awards, themselves. Reduce the number given out on TV, especially the more esoteric or niche ones, in favor of increasing the glitz, spectacle, star power and big production numbers. Do like the Grammys have done, where classical, jazz, folk, blues, opera, international and more are rarely ever presented on the show.
But I think the Academy should go the other way and try to increase public awareness of the importance of Oscar nominations. But maybe not for the Big Four categories – Best Picture, Director, Actor and Actress, which probably do suffer from overexposure by the time the telecast comes around (although The Artist, this year’s big winner, could use the help since many people have been scared off by the fact it’s a black-and-white silent film).
Click the jump for more on ways the Academy could draw more attention to deserving films such as A Separation, In Darkness, Footnote and Bullhead.
Terrence Malick's Tree of Life is coming. Or is it?
Like everything the acclaimed 68-year-old filmmaker does, Malick's latest — just his fifth film in 38 years — has gone through a mysterious gestation, changing release dates and distributors numerous times (it was originally slated for a Dec. 25, 2009, release) while simultaneously revealing little about its contents.
It looks like the wait is finally over: I received a package from its current distributor, Fox Searchlight, a few days ago that contained the film's poster and a brief, one-sheet press release announcing that Tree of Life will open in select theaters on May 27.
Based on writer Beau Willimon's stage play Farragut North, Ides of March features Clooney, who co-wrote the screen adaption with partner Grant Heslov, as a “Howard Dean-type governor” who's trying to win the Democratic nomination for president.
Kevin Smith's Red State premiered to mixed reviews and a small group of protesters at the Sundance Film Festival Jan. 22. But, even more than the film's provocative premise — which has been described as “a horror/comedy/satire about a Westboro Baptist Church-esque fundamentalist community that murders those it finds abominations in God's eyes (aka gay people)” — it was the veteran filmmaker's post-screening Q&A antics that drew the most attention.
The Academy Awards didn’t suck. Yes, the 81st annual industry wank-fest had its share of indelible moments, none more affecting than the graceful speeches by the two Milk-related winners: screenwriter Dustin Lance Black and actor Sean Penn.
The fall movie season gets a much-needed kick in the ass this week, as no fewer than a half-dozen worthwhile (or at least intriguing) films in a variety of genres hit movie houses.
The antithesis to the bloated, big-budget commercial fare that dominates the summer multiplex, the annual 48 Hour Film Project has done exactly what its creators envisioned when they founded it in 2001: empower filmmakers of every stripe and experience level to get off their asses and create something from nothing.