Don’t let the audience hijinks fool you: This weekend’s chat between Matthew Broderick and Alec Baldwin at the Hamptons Film Festival gave the two old acting chums almost a full hour to catch up — often hilariously so, with Saturday’s ostensible tribute to Broderick generally resulting in a freewheeling gab session between the guys.
Netflix CEO Reed Hastings probably wasn’t prepared for the earful (or Internetz-full) he received last month when he announced plans to spin-off Netflix’s DVD rentals into a new company called Qwikster. “It is clear that for many of our members two websites would make things more difficult,” he wrote in a blog post today. “So we are going to keep Netflix as one place to go for streaming and DVD s.” Read on for more flip-flopping, and rejoice?
Our sister blog Deadline is reporting that the surprise sneak screening tonight at the New York Film Festival — showcasing a “work in progress from a master filmmaker” — will be Martin Scorsese’s Hugo . If true, it would be Scorsese’s second film to screen at this year’s NYFF (after George Harrison: Living in the Material World ) and a considerable risk for Paramount, which would be exhibiting the uncompleted 3-D film in one of the tougher filmgoing environments known to man. Movieline will be there in any case; check back with us later on for a report. [via @NikkiFinke ]
Hugh Jackman’s plummy-eyed posters did not scare off moviegoers (or robot foes) this weekend, as Real Steel toppled all challengers at the box office. The Ides of March comes in for a distant, but respectable #2, and Moneyball and Dolphin Tale continue to hold hands, shut out the rest of the world, and survive on sheer joy.
It almost wouldn’t be the New York Film Festival these days without Michelle Williams, whose My Week With Marilyn marks the actress’s fourth effort in five years to grace Manhattan’s venerated fall-movie showcase. It’s inarguably her highest-profile work to splash down here — a world premiere debuting in the festival’s prestigious Centerpiece slot, glowing with awards-season ambition and hinging almost entirely on Williams’s risky interpretation of Marilyn Monroe. But come on: We’re talking about Michelle Williams here. Of course she pulled it off.
I’m not a huge supporter of remaking great foreign films; the trend runs from enticing (Fincher’s Girl with the Dragon Tattoo ) to unnecessary ( Let Me In ). But because it’s inevitable that Hollywood will keep borrowing ideas from the outside world — and since the aptly named Fantastic Fest played host to so many of them over the past week — here are five international offerings I could see studios attempting to re-envision. Let’s just hope they don’t muck it up.
Four years after bringing his feature debut Timecrimes to Fantastic Fest (where it won the Best Picture award), Spanish director Nacho Vigalondo returned to Austin, a place so warm and familiar he liked it to returning to the womb. “It’s like going back into my mother’s vagina,” exclaimed Vigalondo, addressing the friendly crowd at the debut of his sophomore film, Extraterrestrial . “So I get inside my mother’s vagina, and for some reason you are all there inside!”
A cool bit of graffiti art popped up overnight at Fantastic Fest for Adam Wingard’s buzz film You’re Next , which screens later tonight. Passes to the hotly anticipated horror pic, which was picked up by Lionsgate after a Toronto Film Festival bidding war, sold out quickly online and with fest faves A.J. Bowen and director Ti West (who both star in the film) in town it’s one of the hot tickets for tonight. Is Banksy in our midst as well, spraying movie promos all over Austin? Or Mr. Brainwash? (Or both, if they’re the same person??)
Occasionally, a movie is more interesting for where it doesn’t go than for where it does. Oren Moverman’s Rampart , starring Woody Harrelson as a disgraced (and obviously dirty) LAPD cop, is one of those pictures. It’s more of a character study than a conventionally shaped drama — I was taken aback when the end credits started rolling, momentarily left with that “Is that all there is?” feeling. But the more I thought about it, the more it seemed that the movie ended in just the right place, taking us as far as we can go with this loose-cannon cop before he’s left to face his own isolation. Once we, the audience, part ways with him, he’s truly on his own.
Don’t let the PG-13s fool you: Adults have taken over the box office. For the fifth consecutive week, a sophisticated film more reliant on story, casting and filmmaking than it is on VFX bloat, franchise bulk and/or superhero ardor has claimed the No. 1 slot. Meanwhile, the late-summer phenomenon that it supplanted came in second, and you don’t even want to know where the puerile Bucky Larson wound up. (Or maybe you do. Hint: Not in the top 10!) This is your Friday Box Office.