Here is Kyle with a review of Guy Ritchie's The Man From U.N.C.L.E.
Entries in Armie Hammer (21)
Murtada here to praise the images released so far from next weekend's wide release The Man from U.N.C.L.E.
Henry Cavill and Armie Hammer are lookers and judging from the trailer seem to be having fun. It’s Alicia Vikander’s big year and of course she’ll be entertaining. However the most exciting proposition the marketing has offered so far is Elizabeth Debicki as the villain. And her gorgeous costumes.
Debicki is the big baddie of the movie. Her name is Victoria Vinciguerra, the mastermind behind the criminal organization that our spies must stop before she throws the world into calamity. [More...]
Manuel here opening the floor about some things in this first released pic from Guy Ritchie’s upcoming adaptation of the TV show, The Man from U.N.C.L.E., featuring Alicia Vikander, Armie Hammer and Henry Cavill due out next year. From this pic alone, Ritchie’s film is already making a case for “Best Looking Cast of a Motion Picture, 2015.” Hugh Grant, Elizabeth Debicki (!) and Jared Harris round up the cast.
Some questions I couldn’t help asking:
1. Does everyone else now think of Mad Men’s Sally Draper whenever The Man from U.N.C.L.E. is invoked?
2. Do Vikander’s shoulder scrapes suggest she’ll be given some action alongside her male co-stars?
3. Which suit do you think Cavill enjoys donning more: this beautiful plaid three-piece or his Superman one? (It’s a fair question: both look just as tight, no?)
4. Where can one get Vikander’s sunglasses?
5. Might this be the film that finally makes Armie the star we all hoped he’d become after seeing him (doubled!) in The Social Network?
Are you looking forward to Ritchie’s film? Or are you more likely to be looking forward to his ex-wife’s #RebelHeart release instead? Yes, I might be implying those are mutually exclusive stands, though I could be persuaded otherwise.
Can we take a moment to shake our heads collectively at Johnny Depp, Armie Hammer and The Lone Ranger team for being sore losers? They're blaming critics and the media for the failure of the film at the box office -- as if opening weekends are determined by critics. LOL. Weirdly Armie Hammer tries to rope in World War Z to the conversation (which has a 67% critical approval rating on Rotten Tomatoes versus their 28% and a much higher audience approval rating, too)
They tried to do the same thing with ‘World War Z’,” Hammer said of the critical backlash.”It didn’t work, the movie was successful. Instead they decided to slit the jugular of our movie.”
Because this is what critics do. They think "damn, people loved that movie I trashed? I shall have my revenge next time!" and then their tiny selves morph hive-like into Mega-Critic, a ugly monstrously powerful giant beast, big enough to do battle with the beautiful innocence of the Blameless Blockbuster.
I always feel embarrassment, not schadenfreude, for stars and filmmakers when they blame everyone but themselves. It shows a complete aversion to looking inward and betrays a pampered creative life that actively works against continued evolution as an artist. When people only believe/accept adulation, they calcify. It's why so many artists become self parodies or get less interesting as they progress. I really don't think it's an age thing, though you often hear that people do their best work early in their careers. I think, rather, that it's an insular gated community problem, a result of entourages of "yes men" and belief in your own hype.
This review was originally published in my weekly column at Towleroad
If Hollywood has its own wild wild west, a mythic frontier to tame, it is undoubtedly a time rather than a place: Next Summer. And the one after that. Release dates famously come before screenplays and the studios start laying down their tracks to get there: concept, screenplay, pre-production, casting, filming, editing, promotion, release though not usually quite in that sensible artistic order. Budgets often balloon on the way to the imagined gold at the end of the line. Or silver, as is the case with the name of a certain iconic horse, and the coveted metal driving the plot and the literal train tracks in the new version of THE LONE RANGER.
Hollywood hasn't revived this particular franchise in over 30 years, for what one assumes are three reasons: westerns have been notoriously difficult sells for modern mainstream audiences; the last time they attempted this franchise, it failed; and the Tonto character opens you up to charges of racism and cultural insensitivity in modern times. But if anyone could revive this dead franchise and skirt these issues, the thinking went, wouldn't it be director Gore Verbinski and his masses-beloved star Johnny Depp (rumored to have some sort of Cherokee heritage, and adopted into the Comanche Nation last year) who together did the impossible 10 years ago in Pirates of the Caribbean: The Curse of the Black Pearl, making a well reviewed, Oscar-nominated, mega-blockbuster out of a famous amusement park ride while also navigating another even more notoriously pricey and difficult to sell outmoded genre: the pirate movie!
The director and star aren't so lucky this time around. [more]
When I heard a few little kids doing that "bee-doh-bee-doh-bee-doh" siren noise in the exact inflection of a minion from Despicable Me 2 last week -- and that was just from trailer-indoctrination alone, y'know? -- I knew the box office would be gargantuan. And so it was becoming the 10th highest grosser of 2013 (thus far) after just 4 days of release.
The Lone Ranger comes with a ready made catchphrase too... "Hi Yo, Silver. Away!" but the movie which is both too hip and too square for its own good (what is its target audience exactly? Other than "all" which often results in confusing tones), demeans the very use of it so you wont hear little kids doing any Lone Ranger chants in the streets. The box office opening for that film was dismal given its $215+ million budget. I'd say "don't expect a sequel" but you never know these days when they'll make a cheapo sequel (or reboot) to anything, "Branding" being everything in Hollywood.
01 DESPICABLE ME 2 $82.5 *NEW* (cum. $142)
02 THE LONE RANGER $29.4 *NEW* (cum. $48.9)
03 THE HEAT $25 (cum. $86.3) Capsule
04 MONSTERS UNIVERSITY $19.5 (cum. $216.1) Review
05 WORLD WAR Z $18.2 (cum. $158.7) Review
06 WHITE HOUSE DOWN $13.5 (cum. $50.4)
07 MAN OF STEEL $11.4 (cum. $271.2) Superheroes and Security
08 KEVIN HART: LET ME EXPLAIN $10.1 *NEW* (cum. $17.4)
09 THIS IS THE END $5.8 (cum. $85.8)
10 NOW YOU SEE ME $2.7 (cum. $110.4)
Of Note: Now You See Me has to be the sole contender for 'biggest hit of 2013 that nobody ever talks about' right? It's like one of those ol' CBS dramas from years past that were always super high in the Nielsens but had zero pop culture caché.
Honest question: who takes the blame for The Lone Ranger's failure to ignite? We've seen in the past that Hollywood is loathe to question the earning power of stars as big as Johnny Depp (note how long shtick-maestros John Travolta and Nicolas Cage were able to command huge paychecks in the 90s and Aughts with far far less in the way of consistent box office performance than Depp). Director Gore Verbinski has several blockbusters under his belt, too. Will they scapegoat the whole thing on poor Armie Hammer? He sure is handsome but he does seem to have been anointed the next big leading man far far sooner than his filmography requested. In fact, people were throwing leading roles and money at him after just one major supporting role (The Social Network), a film which he hardly had to carry or even elevate given how great it was coming together from virtually every angle.
In platform limited release the coming-of-age summer film The Way Way Back (with a great cast that features Toni Collette, Sam Rockwell, Maya Rudolph and more) won the biggest numbers of the weekend which bodes well for its future. The documentary 20 Feet From Stardom, about backup singers to famous rock stars, continues to pull in big numbers on track to becoming the biggest doc hit of the year. Will an Oscar nomination follow? Oscar does like movies about the difficulties of showbiz. Oscar relates even if he's the biggest and sturdiest star of all.
This review was originally published in my column at Towleroad.
Once upon a time there lived a director with big canvas visual ideas. He would stretch them across just about any surface and start painting. Serial killer craziness (The Cell), muscle queen mythology (The Immortals), and uncategorizable period fantasy (The Fall) were all fair game. Any topic would do including a comic spin on Snow White because why the hell not?
His name was Tarsem Singh or Tarsem or Tarsem Singh Dwandwar or Tarsem Dwandwar Singh because he could never settle on a signature. He would halfheartedly skim screenplays until inspiration struck. Once the spell was cast, he'd toss the script into the fire, chug absinthe, and speed dial Eiko Ishioka. He'd sketch until the last of the words had turned to ash and only his drawings remained*. The end.
*not his real process.
Whether you live happily ever after from watching his movies depends on what you go to the movies for. [Continue]