Movies postsFriday September 19, 2008
Maybe it's because it's Friday and I'm tired after the long week, or maybe it's the idiocy of the presidential campaign finally getting to me (I'm looking at you, John McCain), or maybe it's my age (I'm looking at you, Erik Lundegaard), but after the long day and the short bikeride home, I found, in my pile of mail, the latest Entertainment Weekly with Anne Hathaway on the cover. Their head and subhead?:
ANNE HATHAWAY: A PRINCESS NO MORE: Post-scandal, she bounces back with an edgy new role. Is Oscar next?
I looked at it for a second and thought, “This is the kind of thing that just makes me want to stop living.”
Boys are Back in Town
Basically it revolved around the short shelf-life of a Hollywood career, how you’re only as good as your last flick, and for Vinnie Chase, who is the star of the biggest box-office hit of all time (presumably Aquaman), his career is shaky after the Cannes disaster of his Pablo Escobar biopic Medellin. Indeed, the episode begins with an “At the Movies” drubbing of the film by Richard Roeper and Michael Phillips, and the main drama involves luring Vinnie from his Mexican hideaway for a lunch with a producer...who, it turns out, just wants the meeting so the star he really wants for his picture, Emile Hirsch, will lower his price.
What’s ironic about this? The critics who did the drubbing, Roeper and Phillips, have been replaced on “At the Movies,” while Emile Hirsch’s career is not as hot as it once was after the critical and box-office disaster of Speed Racer.
It almost makes you think they did this intentionally.
"I Believe in Al Pacino"
But before the next round of political talk, here’s a snippet from an interview with Javier Bardem in today’s New York Times. Good stuff:
You grew up in Madrid, loving American as well as Spanish films.
That’s true: I don’t believe in God but I believe in Al Pacino. The other day I was watching Dog Day Afternoon again, and I see a man who is so true, so interesting, and I understand more about the world from his performance. And you go, “C’mon, it’s only acting.” Well, wouldn’t you say that a good book or a good painting allows you to see the world in a different way? When I see a great performance, I feel more alive.
Speaking of Fargo, I came across Kirk Demarais' site, and paintings, via Jeffrey Wells' Hollywood Elsewhere column. Kirk has a few other cinematic family portraits — the Torrances, the Freelings — but for obvious reasons this one hit home:
Thoughts on other cinematic family portraits Demarais should do? I like the happy family portrait before the tragedy, which is why the Griswolds doesn't work for me. The family should also be middle-class, because such paintings are (or were) middle-class staples, which lets out, say, the Corleones.
The Jarretts from Ordinary People maybe? The Burnhams from American Beauty? The Hoovers of Little Miss Sunshine?
So I saw this article about the filming of Michael Mann’s new movie, Public Enemies, starring Johnny Depp as John Dillinger, while reading the article that led to yesterday’s post, which I originally saw while researching a Wisconsin lawyer. I guess that’s why they call it the Web.
Anyone who knows how I feel about Mann, and Depp, and Christian Bale, knows I’m kind of stoked over this. July ’09 release date.