Well, there you have it: Co-producer Brett Ratner asked, his Tower Heist star Eddie Murphy accepted, and the Academy today gave its official blessing for the comic/actor to host the 84th Academy Awards next February.
Due to the four-day holiday frame, Sunday’s standard Weekend Receipts feature will not be seen today. Please return to this space on Monday for a full reading of Labor Day at the box office, and refer to our earlier dispatch for the preliminary figures shaping up the flaccid competition. (Spoiler alert: The Help wins! Again!) See you tomorrow!
Rumors abound today that Eddie Murphy may dig out of his extended rut with an Oscar-hosting stint next February. The Web site that broke the story says it’s a done deal, while our sister site Deadline reports that co-producer Brett Ratner has a few hurdles to clear at the Academy (quite possibly including his producing colleague Don Mischer). Among them: Convincingly answering the question, “What on Earth is the upside of Eddie Murphy hosting the Oscars?”
Movie goers are in love with The Help . For the third consecutive week, this Emma Stone and Viola Davis-anchored drama earned the greatest haul at theaters around the country, taking home an estimated $14.2 million. It became the first film of the summer to earn the top spot for three straight weekends. A look at the complete box office results is below: The Help : $14.2 million The Debt : $9.7 million Apollo 18 : $8.7 million Shark Night 3D : $8.6 million Rise of the Planet of the Apes : $7.8 million
Say this for Eddie Murphy: he couldn’t be worse than last year’s hosts . Sources tell Deadline that the Academy Awards braintrust will meet this Tuesday to consider the man or woman who will emcee Hollywood’s biggest night in 2012 and producer Brett Ratner will start with one name atop his list: Murphy. “Nobody knows movies better or is a bigger cinephile than Eddie,” a source says. “Eddie can quote scenes from every single movie word for word. He can bring all that experience to hosting.” Oprah has also reportedly been under consideration . Do you wanna see Eddie Murphy host the Oscars?
All signs were pointing to this in recent days, and now it’s official: Lionsgate has sent word that it will host regional sneak preview screenings of its epic, gritty MMA /family drama Warrior this weekend nationwide. Obviously that’s nothing new in the grand scheme of release strategies, but what makes this special is the endgame: Oscar night.
Ricky Gervais — the troublemaking Golden Globes host who made callous, hilariously truthful jokes about such esteemed statesmen as Hugh Hefner, Tim Allen, and Robert Downey Jr. during his last hosting gig — claims he’s been asked back to the ceremony for a third straight year. And the Oscars, too. That’s fantastic. But is Gervais willing to take up the offers? The giggling imp explains.
So the Farrelly Brothers decided to give the kids from Jersey Shore a cameo in their upcoming Three Stooges reboot (Oh, the jokes write themselves…) which turned out to be such an amazing experience that Sammi “Sweatheart” Giancola, Jenni “JWoww” Farley, Ronnie Ortiz-Magro, and Nicole “Snooki” Polizzi may now turn their fist-pumping sights on second careers as actors. At least when this nightmare comes to pass, we know who to blame.
The first week of August (and the official beginning of the end of summer) rolled by in fine fashion; sure, it was at times an agonizingly slow news week, but the first looks, surprise developments, and WTF ? revelations kept things bouncy. Head into the weekend with your head held high, week. You gave us plenty to munch on. For starters: The terms “Brett Ratner” and “Oscars” in the same sentence? You so crazy!
For those weary of parsing which part of the post- Dirty Harry , post-Tarantino cops and robbers homage is demonstrating its fondness for the genre and which is just declaring it, writer and director John Michael McDonagh’s The Guard is more exhausting than entertaining. Ideally one would have better things to do while in the act of watching a movie — like say watching the movie — but from its assaultive, nihilistic prologue to its last flat invocation of American culture, The Guard foregrounds the extent to which it is leaning on artifice and affect to get over.