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TV|Line Madonna may be this year's halftime performer at the Superbowl
The Oreo Experience. An amusingly provocative (and depressing) look at fall movie trailers and what the white and black characters get to do in them. 
My New Plaid Pants on Ralph Fiennes' Coriolanus... coming soon. I'll admit a lack of familiarity with this particular Shakespeare play, too. 
ioncinema Andrew Haigh, the writer/director of Weekend names his ten favorite films. I asked him a similar question (which I didn't include in the published interview) and he only mentioned three of these: Don't Look Now, Last Night and Some Like It Hot.

Natasha VC on best uses of music in a Martin Scorsese film
Movie|Line Netflix Ten Most Rented Movies. An Interesting and Irritating List.
Shock Till You Drop asks David Cronenberg about his future projects including sequels (?) to Eastern Promises and The Fly. I spoke with Cronenberg today (interview coming eventually) but I didn't have time to talk up future theoretical movies since my predilection is always towards actual existing movies. Crazy, I know. I feel so lonely sometimes since most people only seem to care about future movies... though obviously I would be quite happy to see either of those imaginary movies as I'm a fan of both originals.

New York Mag talks to Laura Dern (Enlightened) who is my new hero for saying this:

I’m becoming fluent in French so I can go to France and make French films when I’m 60."

I have been suggesting this to actresses since I started writing a decade ago and finally someone is smart enough to take my advice. (okay okay. Maybe Laura doesn't read The Film Experience but let me have my fantasies. Shut up!)

Finally, Sasha over at  Awards Daily sounds off on the old complaint/notion that talking Oscar sucks the air out of the film room... particularly during the fall when we should be talking about how good the movies are. I'm in complete agreement here about film advocacy being the thing people are missing when they bitch about the Oscars. I discovered my cinephilia through the Oscars (as have several other people I've been lucky enough to meet over the years through my writing). They're two separate things now -- as they should be but all things take time -- but I take no issue with them sharing space each year.

Charlie Kaufman Catch Up

JA from MNPP here, with a look at the latest Charlie Kaufman news. If you’re like me – and generally that’s something I encourage, since I just really think my opinions are top drawer – then you think that Charlie Kaufman’s Synecdoche New York was one of the finest films of the last decade. Endlessly rewarding and deeply moving... I’ve seen it five or six times at this point and it’s like looking through a prism, new colors and shapes forming in front of me with every new glance. So I’m primed to follow news of what he’ll be handling next. We first heard about Frank or Francis back in March but details were few and far between.

Now, notsomuch. You can read all about it over here but the general idea is this is a musical (of sorts) about a war (of sorts) between a director and a blogger that aims to eviscerate every aspect of Hollywood (of sorts). Nothing is that simple where Charlie’s words are concerned, but that condenses it into a sentence, I guess. Steve Carell is set to play the director, and Jack Black is set to play the blogger (of course he is since all bloggers look like Jack Black). Kevin Kline will be playing two roles a la Nicholas Cage in Adaptation. Speaking of Cage he’s also in this movie, playing “The Emcee,” which, name-alon,e immediately brings to mind Joel Grey’s role in Cabaret, right? And if this thing's as musical as they say it is, that can't be an associative mistake.

The first thing that strikes me here is how man-centric the cast is. Synecdoche was so heavily populated with fantastic actresses – Catherine Keener and Michelle Williams and Samantha Morton (dear god, she’s so good in it) and Hope Davis and Jennifer Jason Leigh and Emily Watson and Dianne Weist all bouncing off of Phillip Seymour Hoffman in the middle. CK’s always given women such plum goods to play with – Meryl in Adaptation! Diaz in Being John Malkovich! – that I find myself longing to hear some lady names soon. But I’m certainly ready for whatever Kaufman sends my way. And on top of this he’s also written Spike Jonze’s next movie, too! Oh, yes.

'I Want Love'... and Actors in Music Videos, Please

Justin Timberlake as Elton John in 2001Ten years ago right about now, Elton John's "Songs From the West Coast" dropped. I bring this anniversary up because...

a) I love to celebrate anniversaries
b) music videos are short films
c) an irregularly curated side-obsession of mine is tracking film actors who've appeared in music videos.

For the videos from the album, his last hit-parade album (though not his last album), he used actor/musicians rather than himself, including a pre comeback Robert Downey Jr back when everyone still worried for the actor's very life and he seemed like an open wound... which really worked for this video.

Just love that one, don't you? It was directed by Sam Taylor-Wood before the days of her award winning narrative short Love You More and before she graduated to features with the John Lennon early-years bio Nowhere Boy (starring her future babydaddy Aaron Johnson).

In the follow up videos "This Train Don't Stop Here Anymore" and "Original Sin" Elton John used two pre film-stardom singers: Justin Timberlake as Elton himself and Mandy Moore as a devoted fan. In the latter Elton does appear and drags Elizabeth Taylor along with him in pink-turbaned cameo as "Doris" because, you know, Elton does love to flaunt the company he keeps. Was "Doris" an inside joke of some sort between them? 

Maybe JT got a taste for his acting future right here because he keeps playing important men from the music industry (Sean Parker in The Social Network and now Neil Bogart in Spinning Gold)

What's your favorite Elton John song? And if you were celebrity-aware back in 2001, did you ever dream of such enormous movie stardom waiting just around the recovery corner for Robert Downey Jr.?

Naked Gold Man: War Horse Un'Lock'ed & Oscar Vote Theories

Weekly Column! Just in time for weekly chart updates. You heard me!

Let's start with an oft-forgotten fact: there are no "locks" until films are open and seen by the Academy. Even then, positive reactions don't always translate into votes. War Horse would be the right example. It feels like a winner by way of pedigree (Spielberg and Team), topic (World War), intangibles (the Broadway play on the same topic is a hit!) and early peeks (the trailer), but until voters are actually watching any movie from start to finish, you can't know.

Until you have seen a movie there is no way to consider how it tugs at your own heart (or doesn't), how it seizes your imagination (or doesn't) and how your instant reaction sizes up with general consensus. Instant reactions do not happen in lockstep with voting (at least not usually) and consensus --  which is say the wisdom of masses, media favoritism, and opinions from one's own social circle  -- absolutely affects individual response though people regularly feign otherwise.

Seeing the pictures is key and without the keys, aren't locks mere abstractions?

J. Edgar is another prime example. It's got the pedigree team, the baity topic and genre, but the second people are watching it things will change, for better or worse. I can't say that I'm hopeful after seeing the dull musty trailer, which plays more like the zombie corpse of an Oscar contender rather than a lively shiny hopeful. But then, I didn't get the Clint Eastwood Appreciation Gene so I readily admit that I am no representative sample.

To win nominations a film (or performance) must not only win hearts, minds and imaginations but it must stack up favorably against its competition. In other words "locks" for films or actors no one has seen are an absurd notion. Take War Horse again... will its message resonate with voters as much as The Help's? Will the young male lead (no, not the horse) inspire them or make them feel as protective as his counterpart in Extremely Loud and Incredibly Close might? Will anything within War Horse, stimulate like the wit and adult soul of Moneyball? Does the equine war drama have any lighter moments and are they as effervescent or charming as the best scenes from The Artist or Midnight in Paris? 

If nominations were held RIGHT NOW, right this second, and all films that have been seen by a lot of people -- i.e. multiple festivals (whether they're technically open yet or not) were eligible these would be your only "Locks"

Click to read more ...

Box Office: Family Fare Wins Again

Given the ease with which family fare always tops the charts whether animated or live action -- this time the story of a dolphin with a prosthetic tale (?) flipper (?) fin (?) I don't know these terms -- you'd think taking the family to the movies didn't cost as much as people always claim it costs when they complain about how much it costs (whew): parking, food, multiple tickets.

Also: Dolphins are cute and all but I'm only seeing Dolphin Tale if you can promise me that it contains a musical sequence in which Olivia Newton-John reprises her treacly "Promise (The Dolphin Song)" from the 80s.

With Morgan Freeman on back-up.

Anyway, don't mind me. I'm just bitter because I'd prefer it if adults went to movies for adults in droves. That way TV wouldn't be able to hog all the entertainment intended for adults. (Moneyball is doing well but people really should be queuing up in droves, you know?)

Box Office (U.S.) Baker's Dozen -estimates
01 DOLPHIN TALE  $14.2 (cum $37.5)
02 MONEYBALL [review] $12.5 (cum $38.4)
03 THE LION KING 3D [review] re-release $11 (cum $408.1)
04 50/50 [review] new $8.8 
05 COURAGEOUS new $8.8 
06 DREAMHOUSE new $8.2 
07 ABDUCTION [review] $5.6 (cum $19.1)
08 WHAT'S YOUR NUMBER? new $5.6 
09 CONTAGION $5 (cum $64.7)
10 KILLER ELITE $4.8 (cum $17.4)
11 DRIVE [review] $3.3 (cum $27)
12 THE HELP [review] $3.0 (cum $159.3)

Michael Shannon Sees Storms ComingTalking Points
• In limited release land the apocalyptic visions of Michael Shannon in TAKE SHELTER had the best opening weekend at just 3 theaters but with a sturdy $18,000 per screen (in other words the houses were four times as full as those of the top films in wide release). The extremely well reviewed gay romance WEEKEND did a tiny expansion from 1 theater to 6. It also became available On Demand so one suspects it'll make a hefty percentage of its revenue there.

• The Help finally left the gold-lined interior of the top ten list in its 8th week, falling just short of Bridesmaids staying power (which fell the same distance in its 9th week). The sole advantage of The Help (#12 of the year right now) if it hopes to topple Bridesmaids (#10 of the year) for bragging rights of "Highest Grossing Non-Franchise Film of 2011" is that it's in more theaters than Bridesmaids was at this point. The Help is still $10 million behind. It might be a squeaker or it might be all over if Real Steel and The Ides of March rip most of its screens away next Friday.

•Somehow Dream House opened to $8.2 million even though you can see the whole movie from start to finish in the trailer. If people keep buying tickets to movies whose trailers reveal every detail, Hollywood will keep making trailers filled with more egregious spoilers than even the laziest and most bitter critics would dare type. Sigh. At least Daniel Craig and Rachel Weisz found each other in the process. 

•I don't want to make too much of a point about what could merely be a coincidence but Contagion's numbers week to week are very similar to Crazy, Stupid, Love.'s numbers (to the point where they both hit $64 million on the 4th weekend!) Will their twin performance be the new standard for what happens when you just cram your movie full of multiple well-liked stars who aren't always bankable on their own?

What did you see over the weekend?
If it wasn't Dolphin Tale, what could convince you to see that movie?
If it wasn't Moneyball what are you waiting for?