How much Star Wars is too much Star Wars?

Disney announced two days ago that their new plans, having previously purchased Lucasfilm for $4 billion, aren't just to make a new trilogy of Star Wars episodes, nor even to make a few spin-off films set in the same universe.  No, they are planning to make one Star Wars movie every single year, with off-shoot films alternating with official new 'episodes'.  How much Star Wars is too much Star Wars? The idea of a new trilogy of Star Wars films, set to debut ten years after the finale of the prequel trilogy, is perhaps also exciting, even as J.J. Abrams replacing George Lucas as the proverbial leader of this specific universe calls for cautious optimism (Is Star Wars without any real input from George Lucas really Star Wars?  Discuss...).  But how long will the casual fans remain excited about the prospect of new Star Wars films when they appear as frequently as Thanksgiving dinner for years and years on end?

There can only be two! A possible future where Disney and Warner Bros. dominate franchise tent-pole film making...

The news that has broken over the last couple days is not a little depressing.  While the Seven Samurai-esque Star Wars stand-alone film to be helmed by Zack Snyder was quickly denied, we have gotten word for Disney that there would indeed be stand-alone Star Wars films.  The bad news?  So far, they seem to be entirely centered around well-established characters from the original trilogy.  You want a stand-alone prequel involving Yoda?  Or how about films centered around a young Boba Fett or a young(er) Han Solo?  If so, you're going to be pretty happy over the next half-decade or so.  But if you thought that Disney was buying the Star Wars franchise to somewhat expand its universe rather than merely give us unneeded origins and/or backstories for the very characters we already know a good deal about, well this news won't make you happy.  In fact it reeks of the kind of lazy corporate thinking that gives entertainment corporations a bad name.  It's frankly the first bit of news that might make one thing that maybe Disney, which in general has been relatively good to the properties they have purchased over the years (Muppets, Marvel, etc.) might not be the perfect owner of Lucasfilm that we all thought.

What will the next wave of blockbusters bring? What 2013 release will be the next Star Wars/Batman/Harry Potter?

This is something I've touched on here and there, but here we are in 2013.  I've been waiting with baited breath for awhile to see what the 2013 movie release schedule bring.  Will he pattern I've long spoken of hold true?  Will this year determine the next decade of mainstream blockbuster filmmaking?  If history repeats itself, something out there to be released this year will change the game.  If the pattern holds will have a major smash hit that will not only make a lot of money for its studio but will also blaze a trail in terms of what the next decade of blockbusters will look like. It has happened every eleven years or so for the last few decades.  What major 2013 release will usher in the next wave of tent-poles   What will those new films look like?  Or has the game-changer already happened while we weren't paying attention?

Disney hires Zack Snyder to helm a stand-alone Star Wars film. Three (3) reasons why it's great news.

Update: Hollywood Reporter just debunked the story.  Apparently you can't trust a blog post from the frigging New York Magazine!  And *this* is why I don't generally comment on breaking news!!!  Anyway, all the opinions below still stand.

Well, we now have a big clue as to what Disney has in store for the Star Wars universe and it's the best news I could have hoped for in this capacity.  Vulture is reporting that Zack Snyder has been hired by Disney to make a film that exists in the Star Wars universe aside from the promised "Episode VII" and the related ongoing 'episodes'.  It will apparently be a loose remake of The Seven Samurai which of course makes all-too much sense if you've ever seen The Hidden Fortress.  The secret hope that I had when Disney acquired Star Wars is that we'd see a whole host of interesting filmmakers try their hands in the Star Wars galaxy.  And this announcement seems to indicate that this is indeed the plan, with side-films in the Star Wars mythology helmed by the likes of well, Zack Snyder.  We now have the hope of any number of dynamic filmmakers trying their hand, be it obvious contenders like Joss Whedon or Brad Bird, or the old-guards of the film school generation like Spielberg, Scorsese, DePalma, or Coppola, or somewhat off-the-grid choices like M. Night Shyamalan, Tim Burton, or Kathryn Bigelow.  Depending on how often Disney is pumping these out and/or how reasonably budgeted the off-shoot films are going to be, we may end up seeing a Terrence Malick Star Wars movie after all!  

Um, so there's going go be a new Star Wars movie...

I'm sure you've read the news by now (Forbes).  If you haven't, Disney just spent $4 billion to acquire Lucasfilm and plans on releasing the first of three new Star Wars films in 2015 (press release after this essay).  George Lucas himself had been slowly lessening his role in the company he founded and Kathleen Kennedy will be the president and operate under Disney head Alan Horn. So first of all, Disney just paid another $4 billion to acquire another gigantic company and bring it under the Disney umbrella.  Second of all, we're getting Star Wars Episode 7 in 2.5 years (I'm  presuming it will open Thursday May 21st, 2015).  George Lucas will not be directly involved in these new films behind a consulting role.  And no, Paramount still holds the rights to the Indiana Jones series.  So what are my thoughts on this?  I almost didn't comment, because I'm wasn't entirely sure what I wanted to say.  Truth be told, I'm not entirely sure how I feel about this...

Brandon Peters dissects the 007 series part 11: Moonraker

With Skyfall dropping in theaters in just a few months, along with the 50th anniversary of the James Bond series, a close friend and fellow film nerd, Brandon Peters, has generously offered to do a comprehensive review of the entire 007 film franchise. Today is the eleventh entry, with a full review of one of the most underrated films in the franchise, Moonraker. I hope you enjoy what is a pretty massive feature leading up the November 9th release of Skyfall. I'll do my best to leave my two-cents out of it, give or take a few items I have up my sleeve (including a possible guest review from my wife as she sings the praises of her favorite 007 film, you won't believe what it is). But just because I'm stepping aside doesn't mean you should. Without further ado...

Moonraker

1979

Director: Lewis Gilbert

Starring: Roger Moore, Lois Chiles, Michael Lonsdale, Richard Kiel

Rated PG

Well, here’s to us.

            ~ Jaws ?!?!?!

Kills:  16 + 1 Boa Constrictor

Girls:  Holly Goodhead (take a drink every time they say her name before you even are introduced to the character), Corrine Dufour, Manuela

Cars:  Inflatable Gondola

Locales:  California, Venice, Rio de Janeiro, OUTER FRICKIN’ SPACE

Odd Villain Trait:  Jaws (see Who Loved Me, Spy), Chang is…Asian?

Song:  “Moonraker” performed by Shirley Bassey

Since Star Wars did “ok” at the box office, we’re now on to the much maligned Moonraker.  There was a sci-fi surge in the late 70s and of course the 007 franchise jumped on it.  This shouldn’t come as a surprise to anyone, but for some reason this film still gets flack for going this route.  The 70s Bond had already visited the kung fu and blaxploitation genres.  I remind you the series began as wanting to be Hitchcock infused films.  So I ask, why not try science fiction?  The 007 series certainly features outlandish gadgets and villain bases so it seems even more sci fi fitting than blaxploitation and kung fu.  Whether it works or not is beside the point of discussion, Moonraker should not be discounted for the fact that it and other major studios decided to venture into sci fi.  Did we discredit Sony’s Spider-Man coming in the wake of Fox’s X-Men?

Why Warner Bros' Lego: The Piece of Resistance may end up being the greatest movie ever made by humans...

Much of this is speculation, so bare with me.  Jeff Snyder over at Variety reported today that Channing Tatum and Will Arnett have been cast as voices in Warner Bros' new Lego movie. The bad news is that yes there is a Lego movie coming, but the good news is that it's being directed by Phil Lord and Christopher Miller, they of Cloudy With A Chance of Meatballs and 21 Jump Street (so they are two for two so far).  The even better and more curious news is that the live-action/animation hybrid Lego: The Piece of Resistance is casting Tatum as Superman and Arnett as Batman.  Yup, Justice League may or may not ever happen and Wolfgang Peterson's Superman Vs. Batman project is a distant memory, but we will indeed be seeing an big-screen team-up of the Caped Crusader and the Man of Steel in some form.  That's certainly amusing and perhaps noteworthy, but a little imagination leads to an even more insane possibility.  In short, what if Warner Bros. gets the rights to use all or most of the various properties that Lego currently has? 

Don't leave us hanging... If you want us to see a sequel, you might want to *finish* the first film.

Corey Atad wrote a great 'wish I had gotten around to writing it first' piece on Friday.  It's about well, it's called "Prometheus; or Stop Trying to Set Up Sequels!".  I've whined about this in brief or in the context of something else from time to time, but the whole 'everything's a trilogy' mindset has been quite harmful to any number of pictures over the last decade.  When you go back and look at the films that spawned successful franchises, they generally began with mostly close-ended installments.  Star Wars stands on its own, as does The Matrix, Pirates of the Caribbean, and Batman Begins (heck, over the last four years I've come to admire how The Dark Knight begins and finishes its Harvey Dent business within its own 152 minute running time).  Even the first Back to the Future ended its specific narrative before offering a comedic cliffhanger that didn't necessarily need to be revolved (the producers always say they sure as hell wouldn't have had a flying car at the epilogue if they knew they were going to have to do expensive FX for a flying car all throughout a sequel).  Even Harry Potter and the Sorcerer's Stone had a relatively self-contained story that didn't necessarily require a sequel to complete its narrative.

Read it and weep! The Phantom Menace is about to out-gross The Dark Knight! Or: What the onslaught on 3D reissues means for the all-time grossers list.

With just $1 million separating the two films, today or tomorrow is likely the day when one of the more reviled films in geek-ville, Star Wars Episode One: The Phantom Menace, will surpass one of the more openly worshipped geek film in recent years, The Dark Knight, at the global box office.  As of Wednesday, Star Wars Episode One: The Phantom Menace crossed $1 billion, becoming the eleventh film to do so and the first Star Wars film to cross said benchmark.  Obviously there is inflation and 3D price-bumps to figure, but just remember that The Phantom Menace's adjusted-for-inflation grosses from 1999 would equal about $664 million in domestic grosses alone (it earned $431 million in the summer of 1999, the second-largest grossing first-run film behind Titanic at that point).  And don't forget that a number of major fantasy films, chiefly the first three Star Wars films, Raiders of the Lost Ark, and E.T.: The Extra Terrestrial, have had several theatrical releases since their initial respective debuts.  In the days before VHS became mainstream, it was not uncommon for popular films to show up repeatedly at a theater near you.  With the apparent consumer appeal of 3D-converted re-releases, we are seeing a return to what may be a revolving door atop the list of all-time box office champions.

In a 'trash your last movie' era, why I'm glad that Pixar is defending Cars 2...

As a result of director Andrew Stanton and the various producers of John Carter are making the junket rounds this week, there has been opportunity to discuss what many pundits and critics feel was a rare Pixar whiff in Cars 2.  Producer Lindsey Collins, while speaking to Movieline's Jen Yamato, discussed both the film's critical reception and the fact that it was the first Pixar film not to receive an Oscar nomination for Best Animated Feature since the inception of that category in 2001.  Without simply laying out the quotes (hence the link), she correctly states that there were a number of really solid animated films this year, that she believes that Cars 2 suffered from a kind of anti-Pixar backlash, and that director John Lasseter still loves the film.  I don't know if the film suffered from an anti-Pixar backlash (although expectations were that the film would be mediocre prior to press screenings), and I am personally not a fan of Cars 2.  But I personally am darn-happy to see the Pixar gang defending it against the critical onslaught.

Weekend Box Office (02/12/12): Everybody wins as The Vow breaks records, Safe House opens huge, Journey 2 best Journey 1, and Phantom Menace 3D feels the Force.

Wow.  Just wow.  Four major releases debuted this weekend and every single one of them opened with superb numbers.  On one hand, that means that every respective demographic was ably served this weekend.  On the other hand, one can only wonder how much cash was sacrificed by opening these four movies on the same weekend.  Anyway, the top film of the weekend was the Rachel McAdams/Channing Tatum romantic drama The Vow.  The $30 million Screen Gems drama, which by the way is NOT based on a Nicholas Sparks novel (it's a true story), debuted with an eye-popping $41 million, a record for the studio.  That's well-over $10 million more than the $30.4 million debut of Dear John, which was the previous record-holder for an opening weekend for a pure romantic drama.  The film played 55% under-25 years old and 72% female.  Obviously everything clicked on the marketing for this one, and Channing Tatum is now the official king of the romantic drama, having headlined the first one to open with more than $30 million and now the first one to open with over $40 million, while Rachel McAdams is the queen, now holding the first and fourth-biggest opening weekend for an unfiltered romantic drama ($18 million for The Time Traveler's Wife).  Where it goes from here is an open question, as Dear John did not have the strongest legs, topping out at $80 million (or just below the $81 million gross of Rachel McAdam's The Notebook).  On the plus side, The Vow doesn't have the same-demo blockbuster Valentine's Day nipping on its heals like Dear John did.  Plus, even if The Vow has the same quick-kill performance (2.6x weekend-to-final multiplier), it will become the first pure romantic drama (no explosions, no action scenes, no mass-disaster in the third act) to cross $100 million since Jerry McGuire in 1996.

In defense of Star Wars Episode I: The Phantom Menace...

Like so many who read and write about movies, I saw Star Wars Episode I: The Phantom Menace on Wednesday, May 19th, at 12:01am.  Like many who read and write about movies, I did not think it was the greatest film of all time.  But like the majority of the movie-going public, I also did not think it was the worst film of all time, nor did I find it to be some kind of glorious affront to cinema as an art form.  And 13 years later, it is what it always was: a Star Wars movie through-and-through.  It has problems unique to itself, unique to the prequel trilogy, and even some problems that have existed in the series right at the start.  Taking away the fact that one film was a cinematic breakthrough an launched the fandom of a hundred-million would-be movie lovers and the other was released under the crushing expectations of two generations of film fans, Star Wars Episode I: The Phantom Menace is really no better or worse than Star Wars Episode IV: A New Hope.  

Weekend Box Office (02/05/12): Chronicle and The Woman In Black both debut to around $20 million while Big Miracle tanks.

As I wrote yesterday (HERE), I don't care which of the two big releases end up at number one for this weekend.  Chronicle and The Woman In Black are both low-budget over/under $15 million releases that are somewhat abnormal in terms of what's considered a mainstream release, both were exceedingly well-marketed (as opposed to 'saturation marketing'), and both are unqualified hits after their first three days.  But since I have to choose which film to discuss first, I will pick Chronicle (review), which A) I've seen and B) is the unofficial #1 film this weekend with $22 million (as opposed to The Woman In Black, which made 'just' $21 million).  Chronicle announces the arrival of director Josh Trank (and writer Max Landis, son of John).  The quite compelling and thoughtful character study, which is plays with the genre trappings of as super-hero origin story through the 'found footage' format, cost just $12 million and drew a large chunk of young audiences of both genders (it played 45% female).  I have no idea what the legs will be like on this downbeat morality play (it received a B from Cinemascore), but I'd argue its artistic and box office success pretty much kills Warner Bros's planned live-action Akira remake and hurts Sony's The Amazing Spider-Man (which is advertising itself as a more low-key and emotionally-gritty superhero origin story... whoops).  Come what may, a very good and creative little movie just opened very well, and that's a win for everyone.

Review: Red Tails (2012) is a low-key, mostly entertaining history lesson/B-movie.

Red Tails
2012
120 minutes
rated PG-13

by Scott Mendelson

The strongest aspect of director Anthony Hemingway and producer George Lucas's Red Tails is that it lives in a somewhat Utopian film industry where African-American dramas aren't all that big of a deal.  The picture may have an unfair burden of proving the bankability of larger-budget ($58 million) genre fare revolving entirely around African Americans, but you don't see that sweat onscreen.  It treats itself not like a test case, or a passion project for one of the more financially successful independent filmmakers of our age, but merely a B-movie action drama that involves actors like Cuba Cooding Jr. Terrence Howard, and David Oyelowo.  Red Tails may be (unfortunately) an anomaly, but those behind and in front of the camera treat this as if it were one of many minority-led historical dramas that open each month at the local multiplex.

How 2001 was a film game-changer V: Lord of the Rings and Harry Potter influence a decade of blockbusters.

This is the final entry in a handful of essays that will be dealing with the various trends that were kicked off during the 2001 calendar year, and how they still resonate today.

Yesterday (the 19th) marked the tenth anniversary of the US theatrical release of The Lord of the Rings: Fellowship of the Ring.  It was just over a month after the US theatrical release of Harry Potter and the Sorcerer's Stone, which had debuted with a record-breaking $92 million opening weekend.  Debuting with a December-record $72 million five-day haul, The Fellowship of the Ring parlayed superb reviews and splendid word of mouth to break a number of Christmas and New Year's season records and show off some of the best legs this side of Titanic and The Sixth Sense. These two films, which closed out the year, would directly or indirectly pave the way for the next full decade of would-be blockbuster filmmaking.  At last, we had reached a point where basically anything was possibly onscreen if you had enough money and (ideally) enough talent.  The culmination of every trend discussed in the prior essays (the gutting of the R-rating, the explosion in opening weekend box office potential, the emergence of overseas box office dominance, the mainstreaming of 'family entertainment' etc) was personified in the massive success of these two big-budget fantasy pictures.  Whether based on a novel, a comic book, or a theme park ride, big-budget fantasy spectaculars were about to become the dominant tentpole of choice.

Blu Ray Review: Star Wars - The Complete Saga (2011)

This will not be an exhaustive breakdown of the set, as I do not have the time to watch and critique each bonus feature.  But I will offer a few words for those who are inexplicably on the fence about the set.  Point being, I'm guessing you've either already ordered or purchased this, or have decided for whatever reason (not the original versions, already like the DVDs, etc) not the pick up this HD upgrade.  Anyway, all six films look varying degrees of spectacular.  I'd argue that the prequels look shinier and what-not, while the original trilogy looks more impressive in relation to its age and relative production value.  There has been talk that The Phantom Menace looks lousier than the others, but I had no real objections as I scanned to a few highlights (Duel of the Red Shirts looks super).  As you all know, my sound system is whatever my Samsung DLP TV offers, so I can only say that the audio sounded fine, with a clear distinction between dialogue, the score, and various sound effects with a generally even volume level at all times (offhand, the big screw-up with the music during the 'Battle of Yavin' has been fixed).

Not sloppy seconds or hand-me-downs, but a new myth for the current generation. Why The Hunger Games film franchise matters...

Arguably the most surprising bit of news dropped yesterday was the admission that Steven Soderbergh would be performing duties as the second-unit director for Gary Ross's The Hunger Games.  Even with the friendship that the two of them apparently share (The Playlist goes into details), it is a little unexpected for someone of Soderbergh's stature to agree to do second-unit work, on someone else's big-budget young-adult literature adaptation no less.  But that news is merely a segue-way into why the series is indeed far more important than we realize to the long-term health of the industry.  The film, due to be released on March 23rd of next year, is an adaptation of the first of three books detailing a futuristic wasteland where teenagers are forced to fight to the death on a reality TV show as a form of tribune to the society overlords.  Yes, this is not unlike Battle Royale, which is an absolutely terrific action film/social satire from Japan that basically has the same general premise (it's based on a book and a comic book as well).  Having said that, I'll give author Suzanne Collins the benefit of the doubt that she's never seen the 2000 release, as it's never been officially released in theaters or DVD in America.  But the film being released in March, which will theoretically spawn two more in the next several years, is indeed a vital and important one for reasons unrelated to its premise.

Transformers: Dark of the Moon gets a poster. Plus a word about science fiction and holiday weekends.

Not much to add here, but it is a little unusual that Transformers is three films in and had yet to have a normal, stand-alone three-day weekend.  Even this picture, the first to open on a Friday, still has the Fourth of July for its holiday Monday.  It's not a complete separation, in fact it's actually a pretty common pattern for big sci-fi franchises.  The Matrix films opened on a Wednesday, a Thursday, and then on a Wednesday.  The Lord of the Rings pictures of course all opened on the same pre-Christmas Wednesday.  Raiders of the Lost Ark is the only Indiana Jones picture to open on a Friday (a non-Holiday no-less).  And the Star Wars franchise had three Wendesday openings (Star Wars, Return of the Jedi, and The Phantom Menace) and three Thursday openings (The Empire Strikes Back, Attack of the Clones, and Revenge of the Sith).  So hmm... maybe it's the Friday opening that's unusual after all. Although, out of nine Star Trek films, only Star Trek IV: the Voyage Home opened on a non-Friday (it was the Wednesday of Thanksgiving day weekend).  Anyway, enjoy the poster and the random trivia.

Scott Mendelson

Press Release: Star Wars: the Complete Saga on Blu Ray

Bring home the adventure and share Star Wars™ with your whole family – when STAR WARS: THE COMPLETE SAGA comes to Blu-ray Disc from Lucasfilm Ltd. and Twentieth Century Fox Home Entertainment! To be released beginning on September 12 internationally and on September 16 in North America, the nine-disc collection brings the wonder of the entire Saga direct to your living room, where you can revisit all of your favorite Star Wars moments – in gorgeous high definition and with pristine, 6.1 DTS Surround Sound. Dive deeper into the universe with an unprecedented 40+ hours of special features, highlighted by never-before-seen content sourced from the Lucasfilm archives.

The specs after the jump:

Joining the Dark Side of the Force at Disneyland.

I was kind of hoping Allison would pull this kind of stunt when she was old enough to partake in Disney's Jedi Academy Training show. But knowing Allison, she'd probably try to kill Darth Vader and become the newest Sith Lord. None-the-less, this is pretty amusing. Of course, if you buy the whole 'there can only be two' shtick involving Sith warriors, then Darth Maul is about to get whacked.

Scott Mendelson