As the Academy and its guests gather Sunday to enthusiastically slap congratulatory-calloused backs at the Oscars, an altogether different condition will overtake multiplexes nationwide. There, audiences will be confronted by a one-joke hippie comedy with Paul Rudd and Jennifer Aniston ( Wanderlust ), an Amanda Seyfried thriller withheld from critics before opening day ( Gone ), the Navy SEAL recruitment effort ( Act of Valor ), and frequent Oscar week performer Tyler Perry, departing from his matriarch Madea for a change ( Good Deeds ). Such a weak field is hardly an anomaly; the first months on the calendar historically are the wasteland of the release schedule, sitting in sharp contrast to the Academy’s annual celebration of cinematic “greatness.” A curious paradox is normally in play — at the time Hollywood crows about its best, it often serves up some of its worst. To gauge this phenomenon — and display the movie industry’s staggering self-unawareness — here is a look back at what has been foisted on the public during the last 20 years of Academy Awards weekends:
Woody Allen , whose Midnight in Paris is competing at this Sunday’s Academy Awards , will be bringing his Oscar-nominated 1994 comedy Bullets Over Broadway to the Great White Way in 2013, reports the New York Times. The adaptation has long been rumored to be in the works; Allen himself is writing the book, with songs culled from existing 1920s-era music. Cue obligatory Dianne Wiest quotes! [ NYT ]
It’s only taken a few years, but the success of director Daniel Espinosa’s Safe House means that Harvey Weinstein is finally ready to let the filmmaker’s Swedish-language hit Easy Money — née Snabba Cash — off his shelf on July 27. The distributor cited the eventual Stateside publication of the film’s source novel (as opposed to Safe House ‘s $83 million-and-counting domestic haul ) as his motivation: “We love the movie, but we needed the book to be out here,” he told the LAT . Right . As always with Harvey, all release dates are subject to change and/or revocation at any time, so remember to mark your calendars in pencil. [ LAT ]
Drive sound editor Lon Bender, up for the Oscar against The Girl with the Dragon Tattoo , Hugo , Transformers: Dark of the Moon , and War Horse , on director Nicolas Refn ‘s unusual sound requests: “In the sound world, there often is a propensity to want, at least for things like car chases, guns or weapons, to use sounds of the real weapons or the real cars. But when I went to Nic to talk about car engines and the specificity of the kind of cars they were, he said, ‘I don’t even have a driver’s license and I’ve never driven a car. I don’t care what they sound like! They just have to sound exciting.’” [ NYT ]
Remember Shame ? The NC-17 one featuring Michael Fassbender as a sex addict, Carey Mulligan as his off-kilter sister, a couple of notorious ” late-night lovers ” and a thriving awards-season profile that imploded a month ago like a dying star, seemingly having taken the film with it? Right, that one. Now, as per the rules of the cosmos and/or art-house schemes in Columbia, S.C., that star has finally exploded back into consciousness in perhaps the best way possible. The flier pictured above was spotted in and around Columbia over the holiday weekend, urging local moviegoers to avoid the “den of sin” known as the Nickelodeon Theater. The 75-seat venue had finally booked Shame for a run, and without the benefit of a sustained Oscar campaign for erstwhile front-runner Fassbender , the fliers seemed to play right into the hands of Nickelodeon management. Too good to be true? WLTX Channel 19 is on the scene ! (Sorry in advance about the commercial.) The Onion would be proud. Sort of. Anyway, nicely played, Andy Smith! [ WLTX via Pullquote ]
“What the box office success of the re-released Special Editions told Hollywood is that the only way to create another global phenomenon is to make a new STAR WARS movie. 1997 was the start of the modern-day fanboy/geek culture that now runs Hollywood. Fanboy culture (Comic-Con, Harry Potter, Twilight , The Hunger Games, The Lord of the Rings , J.J. Abrams, Joss Whedon, Marvel comics, Game of Thrones, The Walking Dead, Glee , Aint-It-Cool-News, Attack of the Show ) is a groupthink mentality that claims to be democratic, what with its we-know-what’s-best-because-we’re-fans ethic, but is really pop culture fascism. And it’s the fans’ demand (remember, fan is short for fanatic), that led to Star Wars: Episode I – The Phantom Menace — the most hyped (and possibly most reviled) blockbuster in movie history.” [ Some Came Running ]
This should be interesting: Variety’s Gregg Goldstein reports from Berlinale that Billy Bob Thornton is working on a script for an “‘ethereal’ road movie” entitled And Then We Drove . Based partly on experiences from his time with ex Angelina Jolie , Thornton says “[it’s about] a guy who’s on a road trip and picks up this girl along the way, and what happens to them. It’s about the question of life: ‘What is this? Where do I fit in?'” Or, maybe: Honey, Have You Seen My Vial of Blood? Thornton, who premiered his latest directorial effort Jayne Mansfield’s Car in Berlin, will also direct. [ Variety ]
Speaking with MTV, producer Lorenzo di Bonaventura confirmed general details on a fourth planned movie in Paramount’s Oscar-nominated Transformers series, which will indeed see Michael Bay returning behind the camera. (First, however, he may finally shoot his bodybuilding crime pic Pain & Gain .) Though it’s expected we’ll see main robot characters like Optimus Prime return, summer of 2014’s Transformers 4 — Trans4mers ? Tr4nsformers ? — will be a reboot, di Lorenzo says, because of course we need a Transformers reboot already. Of course. [ MTV ]
“Over the past several days Warner Bros.’ California headquarters has received nearly 400 individual sheets of paper adding up to the more than 16,000 signatures the Harry Potter Alliance (HPA) collected in 2010 and 2011 to make all Harry Potter chocolate Fair Trade. The pages were sent by more than 200 members of the HPA from across the country, as a part of the ‘ Not in Harry’s Name Campaign ,’ to show WB how important Fair Trade chocolate is to fans of the Harry Potter series.” From the ” Muggle Howlers ” to the Fair Trade chocolate frogs , it gets better. [ HPA ]
If it takes you a beat to remember the movie to which Journey 2 is a follow-up, that may not just be because the makers have opted for a trimmer title than, say, the marquee-busting, geographically confusing Journey to the Center of the Earth: The Mysterious Island . The 2008 Journey to the Center of the Earth was solid if unexceptional summer box-office fodder starring Brendan Fraser as a scientist who adventured through a Jules Verne-documented fabulous world hidden under the earth’s crust, accompanied by his young nephew Sean (Josh Hutcherson) and their dishy Icelandic guide (Anita Briem). This new film, directed by Brad Peyton (of, yes, Cats & Dogs: The Revenge of Kitty Galore ) has dropped Fraser to instead follow the less-familiar and less-charismatic Hutcherson as the series through-line. Sean’s grown to surly teenagerdom and has been reluctantly relocated to Dayton with his mom (Kristin Davis) and new stepdad Hank (Dwayne Johnson), who has to learn how to fill in as the boy’s latest father figure. I’m maybe unreasonably fond of the actor formerly known as The Rock, and his willingness to stride fearlessly and unabashedly into sequels like this despite having played no part in the earlier installments (see also Fast Five and the upcoming G.I. Joe: Retaliation ) is curiously endearing — he’s the poor man’s everyone, game to replace any star around whom a franchise was previously built. And he’s not a bad substitute for Fraser, sharing the same cartoon-caricature handsomeness and willingness to combine brawny bits of action with goofball silliness, an apparent must for the family action adventure. But Johnson’s disarming commitment to the doodle of a character he’s playing isn’t enough to inject life into the rest of the film, which is an anemic retread of beats and elements from its predecessor, taking place on a secret island hidden beneath a constant storm in the South Pacific rather than in an underground realm hidden inside an extinct volcano in the North Atlantic. Instead of continuing the story, Journey 2 just blatantly recycles it. In the role of competent local/love interest this time around is Vanessa Hudgens as Kailani, on whom Sean immediately develops a crush, and who’s accompanied by her father Luis Guzmán, strenuously working at being the comic relief. In the place of dinosaurs there’s a giant lizard. Instead of a roller coaster-style mine cart ride there’s a roller coaster-style chase in which everyone rides massive bees. In the first film, the characters had 48 hours to escape deadly rising temperatures, while in this film they have a little less than that to get away before the island sinks into the ocean. You can argue that there’s no need to mess with a formula that worked, especially given how young the intended audience for this film is, but the one thing Journey 2 can’t recreate is the novelty that still clung to 3-D in 2008. Journey to the Center of the Earth was advertised as “the first live-action digital 3-D movie ever,” and much of its charm lay in the nostalgically corny pleasure it took in the technology, the sense of wonder it demonstrated for making things appear to fly out of the screen, even if that meant having someone rinse their mouth and spit the water out at the audience. In the four years since, our love affair with 3-D has hit some rough patches, and while Journey 2 has moments of multi-dimensional inventiveness, like a trick of perspective involving sea life swimming by close to camera, or an erupting mountain framed by a window serving as a character’s TV, it doesn’t offer much in terms of memorable spectacle. In fact, the film’s effects can look surprisingly outdated given they’re the primary selling point, from the hazy fantasy landscapes to a submarine-escape sequence that resembles a video game cutscene. This franchise is based on the idea that everything Verne wrote about not invented but real — the Vernians, of which Sean’s late dad could be counted, seeks out the locations the author described in his books. But the films are actually focused on missing and surrogate father figures, with family members rushing off to explore and go missing rather than stay with their children and be there for them when needed. Michael Caine, cruising along, turns up as Sean’s flaky Vernian grandfather, Alexander, the man who lured the party out to the island in the first place. When the action slows down enough for characters to have a conversation, which is thankfully not often, Alexander and Hank bicker over and compete for Sean’s attention and admiration like dueling swains. Will Sean come around to his new stepfather, and will Alexander realize that being reliable is just as important as being exciting? Of course — this is a family movie, after all — but you’ll have to sit through some abrasively broad, unfunny exchanges to get there. Dialogue, alas, is the kind of thing that can’t be enhanced by the wearing of 3-D glasses. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
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