Big moves for Brit filmmaker Joe Cornish : The writer-director of Attack the Block (who also co-wrote Steven Spielberg’s Tintin and Marvel’s Ant-Man script with Edgar Wright) has landed the gig of writing and directing an adaptation of Neal Stephenson’s 1992 cyberpunk novel Snow Crash for Paramount, Deadline reports . The alternate-reality sci-fi tale follows one Hiro Protagonist, a hacker/swordsman who discovers a new drug/computer virus called Snow Crash is spreading through the postmodern future… and you know what that means: Time for a round of Cast That Movie! Which actors out there could fill Hiro’s shoes? [ Deadline ]
With his Sundance conversation-starter Red Hook Summer set for an August theatrical/VOD release, Spike Lee sat down with GQ and gave a rundown of which projects are happening for him, and which are not. Among the Spike Lee joints lost by the wayside due to funding struggles, etc.: His Jackie Robinson biopic, LA riots film, and Wesley Snipes-as-James Brown flick. Surprisingly, Lee admits he’s still awaiting the green light on Oldboy — but in the meantime Lee’s plotting to direct Mike Tyson on Broadway and has already interviewed the likes of Justin Bieber for a Michael Jackson doc celebrating the 25th anniversary of Bad , so there’s that… [ GQ ]
Sometimes TMI is just TMI, says writer and critic Dave White, reviewing Scotty Bowers’ Full Service: My Adventures in Hollywood and the Secret Sex Lives of the Stars : “Stalker-y internet gossip site TMZ is its own TV show now and they’ve got a bus that runs all day long so tourists from Indiana can see where Chris Brown beat up Rihanna….It’s a time in Hollywood history when Mel Gibson takes up with his mistress, puts a baby in her, screams weird racist things on the phone , they laugh about it on The View and then Jodie Foster turns around and puts him in her next movie…And even if [Katharine] Hepburn was a lesbian with a bad complexion and [Spencer] Tracy a conflicted bisexual alcoholic, what purpose does it serve if I also know that Scotty Bowers provided her with as many as 150 paid female ‘companions’ over her lifetime?” [ Los Angeles Review of Books ]
“Even though the media exhibit enormous sophistication and historical perspective in a thousand different ways — not that I can think of a specific example right now — they are far too often bedazzled by the sheer novelty of a story. If you watch cable news, for example, you know all too well that if there are two child kidnappings in the same month, the first one gets far more attention than the second. This same law applies to box-office bombs. With Battleship , the fascination with Hollywood flop sweat had already worn off. When I asked a veteran showbiz reporter why his publication had spent so little time covering the demise of Battleship , he joked: ‘I guess we all had the same reaction — didn’t we just write that story already?'” [LAT]
“Even though the media exhibit enormous sophistication and historical perspective in a thousand different ways — not that I can think of a specific example right now — they are far too often bedazzled by the sheer novelty of a story. If you watch cable news, for example, you know all too well that if there are two child kidnappings in the same month, the first one gets far more attention than the second. This same law applies to box-office bombs. With Battleship , the fascination with Hollywood flop sweat had already worn off. When I asked a veteran showbiz reporter why his publication had spent so little time covering the demise of Battleship , he joked: ‘I guess we all had the same reaction — didn’t we just write that story already?'” [LAT]
“Even though the media exhibit enormous sophistication and historical perspective in a thousand different ways — not that I can think of a specific example right now — they are far too often bedazzled by the sheer novelty of a story. If you watch cable news, for example, you know all too well that if there are two child kidnappings in the same month, the first one gets far more attention than the second. This same law applies to box-office bombs. With Battleship , the fascination with Hollywood flop sweat had already worn off. When I asked a veteran showbiz reporter why his publication had spent so little time covering the demise of Battleship , he joked: ‘I guess we all had the same reaction — didn’t we just write that story already?'” [LAT]
High School has such a winning premise that you want to send everyone involved in making it back to the drawing board for a do-over — just take it from the top, folks, and this time everyone actually have a good time. Directed by John Stalberg, who wrote the film with Erik Linthorst and Stephen Susco, this debut feature follows uptight overachiever Henry Burke (Matt Bush) as, on the eve of finals, he dabbles in pot for the first time with his childhood friend-turned-burnout king Travis Breaux (Sean Marquette) — only to be told the next day that principal Leslie Gordon (an almost unrecognizable Michael Chiklis) is instating a student body-wide zero tolerance drug test. The plan the pair come up with to salvage Travis’s years of hard work and scholarship to MIT? They’re going to get the entire school high to throw off the results. This is, as far as stoner movies go, kind of ingenious, but High School rushes through the parts it should savor and then pads out its runtime with filler elsewhere — and, less forgivably, it doesn’t make getting high look like fun. The stoner comedy as a genre has few requirements other than summoning up a THC haze and being generally good-natured, but High School leaves you feeling like the sober person at a party, wincing at how everyone’s acting and wondering if that’s how you look when under the influence. This may be because that’s how Henry feels all the time — he’s a tightly wound scold who belongs to that wan breed of recent high school protagonists (see It’s Kind of a Funny Story and The Art of Getting By ) who seem on the verge of implosion thanks to some vague, self-imposed psychological distress. The hollow-eyed Henry reunites with Travis, who is leading a seemingly parentless life on a perpetual high, after nearly running into him in the parking lot and instead hitting the principal’s car and earning a detention. “You come to see how the other half lives?” sneers Travis, who’s stuck there too. It rings strange — the division between the pair isn’t due to any class difference but to a lifestyle one, and Travis hasn’t exactly been forced to smoke pot constantly. But the two feel enough nostalgia for their younger days to end up hanging out afterward, where Travis coaxes Henry in smoking his way to an unpleasant first-time high that leaves him paranoid, dazed and with a black eye from falling out of a tree house. Because this is a stoner comedy, the fact that the setup is creaky and doesn’t quite make sense shouldn’t be a problem — except that none of the ways in which the film exaggerates are all that funny. Take Chiklis’s pompous Principal Gordon, with his flop of greasy hair and secret pervert vibe. He’s in the style of an ’80s movie authority figure like Mr. Rooney in Ferris Bueller’s Day Off , one whose sole motivation is ego and spite — except that High School isn’t stylized in the same way. It’s grounded enough to realize that parents would instantly protest the gross invasion of privacy represented by mandatory drug testing, but not enough to explain why an administrator would be eager to expel the graduating class’ likely valedictorian. Its sense of rebellion is completely phony — that of a kid who, like Henry, got high one time and still talks about it. The film’s major asset, one that’s also wasted (in both senses), is Adrien Brody hamming it up as twitchy drug dealer Psycho Ed, a tattooed law school grad (he has “BOOK WORM” across his knuckles) who lost it after smoking a laced joint and has chosen instead to apply his smarts to growing high-octane weed. Sporting cornrows, his bug eyes rolling, Brody should be funny, though Ed’s a better idea than he is in practice — you’re aggressively aware that he’s just an actor showing off the way he’s playing against type rather than a character who’s amusing in his own right. There are other side figures who don’t click: Sebastian (Adhir Kalyan), Henry’s mustache-twirlingly evil rival for the top academic slot; stoner spelling bee champ Charlyne Phuc (Julia Ling), whose last name gets used for a lame joke; well-meaning assistant principal Brandon Ellis (Colin Hanks); a loopy former Deadhead teacher (Yeardley Smith). The movie’s big event — the spiking of bake sale brownies with THC crystals — takes place early on rather than toward the end, so it doesn’t result in the kind of delirious chaotic payoff you’d expect or want from the film. Students and teachers look dazed, lose focus and say some inexplicable things, and by the time the goofiness comes along, it’s too late. It is, horror of horrors, a portrayal of a mildly realistic high, which in the context of what should be an over-the-top film is really the last thing you want. What’s the use of a stoner film if it can’t convince you that there’s at least some fun to be had in the warm embrace of cannabis? Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
“That’s right, Tom Cruise is the same age that Wilford Brimley was when Brimley starred as a grandfather in Cocoon ” — as are George Clooney, Eddie Murphy and eight others featured in this new, head-exploding context. “[… I]t’s not really a statement on the age of Cruise or the other people on this list — it’s the fact that Wilford Brimley was only 49 years old when he starred as an elderly man who leaves Earth with a group of aliens in an effort to escape the specter of death. (His friends were played by the more age-appropriate 76-year-old Don Ameche, 75-year-old Jessica Tandy, 73-year-old Hume Cronyn, 76-year-old Jack Gilford; today, Brimley is still only 77 years old.)” [ Huffington Post ]
“‘I don’t even know if we can top [ Piranha ],’ lamented sequel director John Gulager, whose horror film Feast was the subject of the Bravo moviemaking documentary series Project Greenlight in 2005. ‘I don’t think that was totally our goal. We just wanted to be different. They had Academy Award-winning actors and stuff. We just wanted to have our own separate story.'” [ AP via WP ]
It seems Roger Ebert was unable to make the trek to Cannes , but his wife (and Ebert Co. VP) Chaz sends a report from the South of France with a fantastic breakdown of the fest’s offerings — and sweet words for Rog back home: “Today there may not be starlets jumping nude in the ocean, but we are still being given stories of young love and old love and passion and feelings and ideas that make life worth living. Thank you for introducing me to this world. Now I just want you to hurry back to it.” [ Chicago Sun-Times ]
