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 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | letterboxd


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Dreamworks Animation Pt 2: The Fall

"I loved this article. It reads like vintage EW, back when they relished the behind-the-scenes stories of Hollywood and the studios." -John T

"Dreamworks should not have oversaturated the animation market. Home is Dreamworks 31st animated film. Do you know what is Walt Disney Animation's 31st film? Aladdin. It took Disney over 5 decades to get there." -Chinoiserie

Part 1 here if you missed it



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What'cha Looking For?

What did I miss? 


This is the entry to a kino here in Norway. My friends didn't let me go in *sniffle* Be back to NYC and thus movies tonight. What did I miss these past ten days? Fill me in! What have you been seeing?


25th Anniversary: Bull Durham

Tim here, in celebration of the silver anniversary of one of the best movies on the 1980s. On June 15, 1988, Bull Durham opened, immediately becoming one of the best-loved romantic comedy/sports movie hybrids ever made, and a quarter of a century on, it seemed like the ideal moment to look back to see just how well the quintessentially ‘80s movie has aged.

The answer, I am happy to say, is: pretty darn well, notwithstanding the set-in-stone timestamp of any movie that features Kevin Costner as a romantic lead (or features Tim Robbins looking like a 12-year-old). The chief appeal of Bull Durham remains exactly what it was 25 years ago: it really does offer something for everybody, in the words of the cliché.

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What actress would you put on the tail fin of a plane?

Hey kids. It's Nathaniel just checking in from my vacation. I hope you miss me but I'm loving this very unplugged trip -- today I lept from a dock in remote Norwegian village into the freezing cold ocean. Invigorating!


Anyway... when I arrived in Bergen Monday afternoon I was surprised to see Wenche Foss, beloved Norwegian postwar actress staring back at me on the Tarmac.

It got me to thinking about which actresses we idolize enough in America to give them this sort of treatment. Not that we do but IF we did as we should? Who would it be? Besides Dame Meryl of course?


Curio: Cyndi's Colors

Alexa here, following up on Glenn's Cyndi Lauper post. I've been a Cyndi follower and sometime apologist (see: my previous support of Vibes) since grade school, so Sunday night was a big night.  Now if only we could conjure the perfect role for her to complete her EGOT; perhaps Jonathan Demme could harness the power of her marvelous quirk?  For now, here are some Cyndi creations to celebrate her Kinky Boots.

Illustrated poster by Nour Tohmé.

Kinky Boots support at the Keep-Calm-O-Matic.

Cyndi doll art and trading cards after the jump...

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Box offices binges on "The Purge"

It's Tim, taking over Monday box office duties for Nathaniel while he's away, so if I've made some little formatting mistake, apologies in advance.

It says all there is to say about the cool state of the box office right now (nobody wants to put something out just in time to have Man of Steel cut its legs off next week) that the big story is a horror movie with toxic word of mouth hugely outperforming expectations. Truthfully, though, $34 million for the Ethan Hawke home invasion thriller The Purge is pretty impressive: it more than doubled the open weekend of Hawke's last horror picture, Sinister, while blasting past pretty much every comparable film in recent memory. That's what a drought in the marketplace will do for you: horror fans will turn out to see new wide releases if it's been a long time, even if the new release in question looks completely awful. I know whereof I speak.

Meanwhile, Wedding Crashers reunion/feature length Google ad The Internship has made exactly the non-splash that could be predicted based on how much nobody in the entire world was talking about the movie, though it's worth pointing out that it's not particularly out of line with the recent films Vince Vaugn and Owen Wilson have made seperately in the past few years. Also, Fast & Furious 6 broke the $200 million mark before Star Trek Into Darkness, which is a statistic that I don't think anybody would have willing to predict at the start of the summer.

01 THE PURGE $34.1 *NEW*
02 FAST & FURIOUS 6  $19.2 (cum. $202.8)
03 NOW YOU SEE ME  $19.0 (cum. $60.9)
05 EPIC $11.9 (cum. $83.9)
04 STAR TREK INTO DARKNESS  $11.4 (cum. $199.9) The Dumbing Down of Star Trek
07 AFTER EARTH  $10.7 (cum. $46.1) M Night Shyamalan's Fall
08 THE HANGOVER PART III $7.3 (cum. $102.3)
09 IRON MAN THREE $5.8 (cum. $394.3) Reviewed & Podcasted
10 THE GREAT GATSBY $4.2 (cum. $136.1) Reviewed & Dreamt About

In limited release, Frances Ha and Before Midnight are both purring along nicely (both were up from last weekend, in fact!), though neither they nor anything else came close to breaking into the top 10. The only prominent new film, Joss Whedon's modern-dress version of Much Ado About Nothing, put up a strong but not mind-blowing $34,388 per-screen average at five theaters, and didn't even crack the top 20, though its nationwide expansion on June 21 ought to improve its fortunes considerably, while giving all of us who don't live on the coasts a chance to see what Whedon's post-Avengers palette cleanser plays like.

Did you see anything this weekend? I didn't, taking advantage of the weather to do yardwork, though a friend and I are catching The Purge tonight. Like I said, horror fans are used to seeing things that we know are going to be utterly worthless.


Cyndi and the EGOT

Glenn here talking Tony. The Tonys, of course. More specifically Cyndi Lauper at them.

There were many things from last night's show worth discussing - that opening number, the Smash cast all seated plum in the front row, Megan Hilty's performance in the ode to axed TV series with Andrew Rannells (The New Normal) and Laura Benanti (Go On), Cicely Tyson's ruffle dress, the terrible Bring It On performance, the incredible Pippin performance - but one of the most interesting is, I think, Cyndi Lauper now being just an Oscar away from finishing off the prestigious EGOT.

Ever since winning the Best New Artist Grammy in 1985 the careers of Cyndi Lauper and Madonna have been intrinsically linked. Madonna wasn't nominated for the Grammy (can you believe?), but these two fiercely iconic 1980s superstars have always felt like competing examples of the fortunes of '80s superstars. While it's generally accepted that Lauper's career as a top 40 artist ended far too soon just as Madonna's was soaring, Cyndi hasn't been laying low all these years. In between her Grammy in 1985 (and 1988), she has continued to record and tour and in 1995 won an Emmy Award for her guest stint on Mad About You, performed in The Threepenny Opera to critical acclaim (but no Tony attention), and been a fierce feminist and advocate of the LGBT community. Add in last night's sparkly Tony for scoring the stage adaptation of Kinky Boots (we've all forgotten how bland the movie is, right? I think that's for the best - check out Nathaniel's review of the stage show to see why) and she has no reason to be disappointed with now it all turned out. Now she has but one statue to go before completing the EGOT. Can she do it and solidify a place as an all time great? Because the mountains of cash she continue to reaps from "Time After Time" and "Girls Just Want to Have Fun" just aren't satisfying enough, clearly. Madonna who?

Dear Madonna: I love you forever. Please be my friend. 

Unlike Madonna, Cyndi has never appeared all that interested in Hollywood. Oh sure, she attempted a crossover career with Vibes, but the toxic reaction to that Jeff Goldblum flick set inside a Chinatown laundry and South American jungle (?!?) from 1988 probably turned her off future endeavours. That film did, however, bring us one of Cyndi's most under-appreciated hits (it went top ten in Australia and New Zealand so we can call it a hit even if it was a flop everywhere else), "Hole in My Heart (All the Way to China)". Just one of many songs from the mini-phenomena of the 1980s that went in a vaguely racist direction of reappropriated Asian culture into wacky pop melodies that utilised a lot of gongs and pipes and one presumes there was a Chinese fisherman's hat somewhere in there that was a horrifically misjudged fashion statement. Like the urban sombrero. Cyndi's song is fantastic, "Oriental Boy" by The Flirts is not.

Cyndi's only other foray into feature film songwriting (unless I'm missing something - am I?) was "The Goonies 'R' Good Enough" from The Goonies in 1985. A dinky pop ditty that sounds exactly like one would expect from an up-and-coming singer on the soundtrack to the teenage adventure film. I'm not as big a fan of the song as many others, and apparently Cyndi herself hates it, too. The more you know. I'd still prefer it as an Oscar nominee over anything from White Nights though.

Grammy, Emmy, and now Tony. Is Oscar next for Cyndi?

Other than that Cyndi has steered clear of recording tunes for soundtracks. Why, I'm not so sure? Still, if Cyndi is keen on completing the EGOT now would be the time to strike. In doing so she would become the first since Scott Rudin in 2007 (his Oscar for producing No Country for Old Men sealed that deal). She's clearly popular with awards bodies and nobody has a bad word to say about her. Plus the Academy's music branch would surely appreciate the fact that she hasn't appeared desperate for it like her chief '80s rival. And even though they might like to appear otherwise, they're not totally against giving the award to big celebrity songwriter these days (Adele says hi). If she ever does win, Dolly Parton's famously friendly persona may finally crack. What does she have to do to win one of those golden bad boys?

Chin up ladies, Jane can split her second Oscar between you.


2013 Tony Awards Live Blog (UPDATED with video!)

Dancin' Dan here, very excited to start my very first attempt at live-blogging! So, it might not work, but I hope it does. Won't you join me in this adventure?

7:37 - It's almost here! I, for one, cannot wait to see whether Hit List or Bombshell Kinky Boots or Matilda will walk away the big winner on the Musical side of things. I love them both equally, but we will have to see what the Tony voters think! Also very looking forward to Neil Patrick Harris's by-now-traditional closing song recapping the evening. It's pretty much been the highlight of every Tony ceremony he's hosted.

7:58 - Commercial for Motown: The Musical, which is pointedly NOT nominated for Best Musical. Wonder how many other commercials for Broadway shows we'll see tonight... Rest of the evening after the jump.

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