Biopic Request: Boy George For His 50th

On this, the day of Boy George's 50th birthday, we propose a biopic. After all, Hollywood is quite fond of musician biopics what with their formulaic three act story beats: rise from talent-individuality-chutzpah, fall from drugs and debauchery, miniature or major comebacks as the performer finds themselves again.

So why is it that someone as fab and movie-character ready as Boy George doesn't have his own biopic? He's already written all of the wittiest lines for some future screenwriter, being one of the quippiest of '80s icons. He's already conjured the movie's most memorable costumes. He's already even provided a rough draft blueprint with his own autobiographical musical, Taboo (2004).

Now, Taboo was historically not a success on Broadway but we chalk this up to its difficult developmental period, clashing egos and press animosity (sometimes the media just turns on something and there's only a war zone from there). It's not that the show wasn't entertaining enough to be a success. It was actually a fierce show, just an intermittently clumsy overstuffed one. But my oh my the music was good. In addition to Boy George's own discography (formidable, duh) he wrote new songs for the bifurcated musical, which managed to be two biopics in one by juxtaposing Boy's rise with the life of performance artist Leigh Bowery .

The pop star did star in his own biopic but he cheekily played Leigh Bowery instead, so here's a press clip below of the show and his title track performance. [Note: I meant to write about the documentary about this very lively Broadway season Showbusiness: The Road to Broadway (2007) which also charts behemoths Wicked and Avenue Q and the wondrous Caroline or Change but the DVD didn't arrive in time, damnit.]

I remember sitting in the audience in a very cramped Broadway house. The tourist to my left turned towards me at intermission.: "IT'S OVER?!?!?" she said, panicking, clearly new to seeing live theater and there for Boy George himself (she was wearing an old Culture Club t-shirt). I pulled her back from the edge "there's more Boy to come."

For all of Boy George's personal problems, he's a smart enough star to understand his own rise and fall. There's a heartbreaking number in the show called "Out of Fashion" and, yes, Boy George still is. But in this Age of Gaga, maybe pop culture out to rediscover the gonzo theatrical originals that paved the way? There's a long line of "what will they look like next?" superstars before her: Bowie, Boy, Madonna, etcetera...

For extro-music here's Boy's video from pop culture / Oscar milestone The Crying Game (1992).

(That would've have so won the Oscar for Best Original Song had it not been a cover of an oldie.) I haven't seen The Crying Game in far too long, how about you?

l i n k

Another day, another several celebrities with new ad campaigns.  Here's Angelina Jolie for Louis Vitton (reportedly she's not wearing any makeup here and wearing her own clothes) and Tobey Maguire for Prada.

How many of them do you think make more money posing for ads than actually acting? Even the ones who command huge actorly paychecks.

oh yes... a few links

Self Styled Siren a fun post on romantic choices, "sleeve tuggers" and The Phantom of the Opera (1943)
Alt Screen celebrates Buster Keaton in College.
Men's Journal spends manly time with Kyle Chandler.
Cinema Blend a retro poster for Captain America: The First Avenger
Super Mercado a fan poster for "The Case" that movie within the movie Super 8

Off Cinema
The Daily Beast thorough critical rundown of new TV season. Pan Am with Christina Ricci sounds great and they say it's sexy, too.
Basket of Kisses roots for Mad Men hard at the inaugural "Critics Choice" for television.
Londonist 8th Annual Naked Bike Ride. This looks like it would hurt. They do some naked bike riding in that Flemish movie The Misfortunates. Have any of you seen that? It's surprisingly affecting, despite being relentlessly sozzled and depressed.

Tony Aftermath
The ratings were up 10%. Yay!
BlogStage has video highlights of the Tonys. I added a couple of these to my live blog in case you're just joining us and want to catch up.
La Daily Musto takes off the blindfold on those Tony related "blind items"... this link is for theater obsessives only, though.
Sarah's Tumblr thought the Tonys were fine but this shirtless photo of Gene Kelly made her night.
Movie|Line thinks the Oscars should take after the Tony Awards. But some of this oft-heard advice is impossible: You can't get rid of the precursors. Oscar has no say in those. They'd have to collapse on their own. Plus, the technicals should not be cut (though maybe the "short film categories" could go without spoiling that it's a night about cinema. Still I like my Oscars long. But they do need to have more spirited presentation. HIRE NEIL PATRICK HARRIS & HUGH JACKMAN AS A DUO. (see also TFE's live blog for their wonder-twin-powered duet)

Top Ten X-Movie Moments

To conclude this mutant week we've been up to, let's name the best moments from Marvel's evolutionary franchise. We still maintain that X-Men's complex mythology and soap opera relationships would be a far more natural fit for the television medium, but the movies will do for now...

TEN GREATEST X-MOVIE MOMENTS

Oh Angel, we hardly knew ye

Honorable Mention: There is that momentarily thrilling one moment in X-Men Last Stand (2006) when Angel (Ben Foster) took flight, but the rest of that film took such a dump on grand source material that it's best forgotten. This proposed memory wipe is even more welcome now that X-Men First Class has taken a decent stab at the source material again. The most obvious problem with Last Stand was its greedy carelessness, attempting to reference everything that had ever existed, thus offering up half-ass takes on dozens upon dozens of characters and sidelining the most mythic of all X-Men narratives, the Dark Phoenix saga; whoever's bright idea that last bit was should probably never work in the storytelling medium again.

If future filmmakers are looking for ways to throw fanboys delicious geek bones to chew on, there's no better way to do it than that scene in X2 (2003) when Mystique breaks into Stryker's computer.

Director Bryan Singer's fine compositions and clever throwaway bits (Mystique shapeshifting behind glass) kept the scene crackling but those cutaways to Stryker's computer were nerdgasms waiting to happen. That's all you need to do, filmmakers, offer up itty bitty "easter eggs" if you will. There's no need to overstuff your movie and undersell great stories and characters in the process.

The Top Ten

10. Entering The Hellfire Club (X-Men First Class)
It's a small thing, but there's a welcome naughty jolt when Moira McTaggart impulsively strips down to her undergarments to tail Emma Frost and her girls into the Hellfire Club. What unfolds there blows Moira's mind. There's plentiful unfortunate evidence to suggest that not one of the four X-directors have remotely understood the complexities of the female mutants, treating them primarily as victims or sex objects (shame). But it's also silly to presume that Sex Object isn't a mandatory job requirement for all heroes and villains who linger in the public imagination, with those hyper masculine/feminine bodies in skin-tight costumes. Emma Frost just dispenses with the pretense of a costume and super-villains it in her lingerie. Damn girl!

09. Magneto and the Nazis (X-Men First Class)
Judging only a movie-making basis, this would rank higher but though it's quite a thrilling and well acted revenge scene, it's also an odd fit for a superhero movie; you could lift it (nearly) wholesale into a non-superpowered movie, couldn't you?

08. Deathstryke vs. Wolverine (X2)

Holy shit.

Wolverine's reaction to Deathstryke's unleashed claws is not the most eloquent line in the superhero genre but it's the most succinctly accurate, wouldn't you agree? What follows is the perfect example of how to handle action sequences with virtually indestructable heroes like Wolverine: make it hurt.

07. Nightcrawler attacks the President (X2)
The famously demonic looking hero proves that looks can be deceiving. So his introduction into cinema takes just that tack, painting him as a super villain, when in reality he's one of the goodest of good guys. He's just been controlled by Stryker's neck acid is all (what?).

Here was an example of a creative team rising to meet a challenging visual spectacle. How do you convey those multiple blows from a blink and you'll miss him teleporter while also showing his acrobatic agility and his memorable tail? They found quite a solution to their problems in this terrific and strangely terrifying sequence. It's one of the only moments in the franchise where you're definitely on the "human" side, totally understanding why mutants are feared and hated. How do you survive against ...that?

06. Wolverine meets the X-Men (X-Men)
A cleverly shot sequence, peaking with the moment when Wolverine is reflected in all the X-Men suits . He's like an animal lost in excessively sterile human tunnels. But curse the housekeeper for putting those X-Sweatshirts right in plain view for Logan to clothe himself with. Eye candy snatched away from us halfway through the scene!

05. Mean Girls (X2)
The most delicious thread of the first two films is that bitchy chemistry between Mystique and Magneto. It helps that few actors can deliver a line with as much melodic wit and superiority as Sir Ian McKellen.

We love what you've done with your hair.

Even better than this juvenile humiliation of Rogue is their instant adoption of Pyro by way of 'it takes one to know one' evil kindred spirit. "They say you're the bad guy." Pyro ventures, not disinterested in the bad.

Is that what they say?

Sir Ian McKellen is bliss.

04. "Find them. All of them" (X2)
This creepy-ass climax finds Stryker's son infecting Xavier's mind while posing as a little girl. (It's a sinister flip on Professor X's jokey threat to Wolverine earlier in the picture... "I'll have Jean braid your hair"). The plan is diabolical, weird and the scene is well staged as it escalates. Love the shifting focus and that sinister penetrating stare, too alive for such a zombiefied mutant.

03. Between Serenity and Rage (X-Men First Class)
The new film could've used more quiet thrills like this one, when Xavier gently touches Magneto's mind and his most humane instincts. Move that satellite dish. Of course you can't pull a scene like this off without magnetic (haha) actors. The new film may be uneven but Michael Fassbender and James McAvoy are miracle workers, indicating this franchise can stay magical post Bryan Singer & Ian McKellen.

02. Mystique vs. Wolverine (X-Men)
A rare beast: a silent fight scene that feels like a verbal showdown or a straight up musical number, it's so attuned to the moods of the performers and their physical beats, what with Wolverine's relentless unnerved slashing and Mystique's theatricality and arrythmic movements. It's wonderfully weird and compelling.

01. Xavier's School Breached / Berserker Rage (X2: X-Men United)
More lip service is paid to Wolverine's temper than is ever successfully shown in the films, but Bryan Singer nailed it this one time, finally providing visual evidence of the famous adage.

He's the best there is at what he does but what he does isn't very nice.

Home invasions are of course the most inherently terrifying of all action sequences At home you're supposed to be safe. This sequences manages multiple characters and multiple moods (fear, chaos, curiousity, character, and even humor) with singular focus and skill.  Even better than the stabby slashing goodness of Logan's rage, is how well crafted the entire sequence is by Singer, editors John Ottman and Elliot Graham sound man Craig Berkey and cinematography Newton Thomas Sigel. One has to only remember the final grace note in the battle, Ice Man's last minute unwelcome rescue of Wolverine, to understand what so many X-directors lack that Bryan Singer had. When you're dealing with superpowered characters, you'd better have your own in the image-making department.

Report Card: X-Men (2000) B- | X2 (2003) A- (I'd name it the second best comic book movie ever) | X-Men Last Stand (2006) D | X-Men Origins Wolverine (2009) F | X-Men First Class (2011) B-/C+ Only character interpretation that's superior to the comic books: Mystique | Three best character interpretations overall: 1. Wolverine 2. Mystique 3. Magneto Three collosal failures of adaptation: 1. Storm, 2. Dark Phoenix, 3. managing the web of one-on-one relationships outside of the central Xavier/Magneto dynamic.

Related posts:
Cast This: Dazzler, Colossus, Etcetera |  First Class Review | X-Men Animated Series

MUTANT WEEK ROLL CREDITS...

Madonna's "W.E." In the Hunt For Oscar

...That's the only possible reason that the Weinstein Company would be interested in distributing her original movie about a woman obsessed with those King's Speech supporting characters, right? Insiders have called it "smart and stylish" and claimed that Andrea Riseborough is Oscar worthy in it.

Abbie Cornish and Andrea Riseborough in 'W.E.'

Perhaps the Weinstein's will do some magic sleight of hand and try to sell it as a revisit. "If you loved the King's Speech, you'll love..."

Please don't be fooled by W.E.'s simply HIDEOUS movie poster, which is floating around the net. This movie could well be very good. Please to remember that The King's Speech also had an absurdly ugly photoshopped teaser poster, too.  W.E. stars Abbie Cornish (in contemporary time) and Andrea Riseborough as Wallis Simpson in ye olden King's Speech times. No word yet on the release date but if we know our Weinsteins it'll be between Thanksgiving and New Year's Eve.

Even if the movie hits AMPAS's sweet spot, the woman behind the film could still be an easy snub. In fact, Madonna has never been Oscar-nominated despite writing the following classic movie songs, nearly all of them better than some of the Oscar nominees in their years.

Madonna in Charge.

"Crazy For You" -VisionQuest (1985)
"Into the Groove" -Desperately Seeking Susan (1985)
"Who's That Girl" and "Causing a Commotion" and "Look of Love" -Who's That Girl (1987)
"Live to Tell" -At Close Range (1986)
"This Used to Be My Playground" - A League of Their Own (1992)
"I'll Remember" - With Honors (1993)
"Beautiful Stranger" - Austin Powers: The Spy Who Shagged Me (1999)
"Die Another Day" - Die Another Day (2002)

Arianne & MadonnaThe Academy's music branch hates her but since they have legendarily horrid taste and confounding voting practices, we can't let it bother us too much.

As is usually the case with tricky-to-gauge period pieces, W.E.'s best Oscar bet is probably in Costume Design. Arianne Phillips (pictured left with Maddy) who has worked with the icon quite often and done sensational work on previous films like Hedwig and the Angry Inch, The People Vs Larry Flynt, 3:10 to Yuma and Walk the Line (Oscar nominated) is doing the costumes.

Stay tuned...

Box Office: Elle Fanning Ascends and 8 More Notes on "Super 8"

It was a debutante ball or a "Sweet 13", if you will, for Elle Fanning at the Box Office this weekend. J.J. Abrams Super 8, an attempt to recapture Spielbergian 80s sci-fi glory, opened larger than expected, and Elle's star continues to rise. Are you newly won over?

"SuperElle" © Nathaniel R
A HUGE week in the Fanning household this has been, eh? Dakota graduated from high school, became the new face of "Oh Lola" and younger sister Elle starred in a #1 hit, following in big sister's footsteps still (Dakota's already done the #1 weekends with Twilight: New Moon and War of the Worlds... which Super 8 bears more than a little resemblance too with its sinister alien antics, great build up and then strangely lame final act. "Uh, we have to wrap this up now so... THIS"

I meant to write a proper review - sorries! -- but instead you get list/notes. MINOR SPOILERS

• first 45 minutes pretty wonderful, fun period work, enjoyable inside-moviemaking jokes for nerds.
• Elle Fanning's "acting" scene in the movie within the movie (an amateur zombie film) before the cargo crash is awesome. The extra, out of focus in the background, totally forgetting his business to stare at her ? Hilarious/perfect.
• That EPIC cargo crash is the first sign of trouble. The explosions and destructions go on and on and on and on (overkill!) and not one of the kids gets a scratch despite running through fireballs and 10 ton debris falling all around them. It looks like a war zone thereafter but their car is also indestructable.
• All the "what's going on?" withholding is wonderful...until it's not. At some point the audience is supposed to catch up to the story.
• I used to think J.J. Abrams "lens flare" issues were cute and I didn't understand why they bugged people but MY GOD. Stop with the electric blue horizontal lines ruining so many otherwise pleasant images.
• The scene where the sheriff tells his deputy to go home and hug his son. Kyle Chandler (Friday Night Lights) can convey so much with so little. He's one of those actors who understands the less is more truism. The deputy knows that this is good advice, but he also knows he's not going to do it.
• Elle Fanning is positioned to receive the most praise (this happens to obsessed over "love object/muse" roles) and she's quite good in it but the real find here is 15 year old Joel Courtney in the lead role: Such an expressive face, so natural on camera, entirely absent any child-actor showboating tricks and gimmicks.
• An extended race sequence with massive explosions and tanks and destructive nonsense near the end is entirely useless to the narrative and a sign that the movie is in trouble.
• The overt sentiment works well when it's calm and focused in the first half but starts to feel like an uncomfortable skin graft toward the finale.
• As in War of the Worlds, it just falls apart at the end, as the heroes essentially do too little that's heroic other than survive and the storyline just kind of resolves itself lazily. The end.
• But bonus points for including the amateur zombie movie over the end credits!

Oops. That was way more than 8 notes.
Grade? I'm still mulling that over. It's very uneven.

U.S. Box-Office (Estimates)

01 SUPER 8 new $37
02 X-MEN FIRST CLASS $25 [review] (cumulative $98.8)
03 THE HANGOVER PT. 2  $18.5 (cumulative $216.5)
04 KUNG FU PANDA 2 $16.6 (cumulative $126.9)
05 PIRATES OF THE CARIBBEAN: ON STRANGER TIDES $10.8 (cumulative $208.7) [review]
06 BRIDESMAIDS $10.1 (cumulative $123.9) ♥
07 JUDY MOODY AND THE NOT BUMMER SUMMER new $6.2 
08 MIDNIGHT IN PARIS $6.1 (cumulative $14.2) ♥
09 THOR $2.3 (cumulative $173) [review]
10 FAST FIVE $1.7 (cumulative $205)

What did you see over the weekend?
And if you caught it, how did you feel about Super 8?