Holy sh*t!! Harrison Ford signs on for Anchorman 2...

If you watched Conan O'Brian over the years, you know that Mr. Ford is actually a pretty funny guy.  He has a droll and rather deadpan sense of humor that generally came out best on O'Brian's couch, probably because Conan never pried into his private life. He's made no secret of his desire to do comedy and I've spent the last 15 years or so wondering why he never got that call from the Farrely Bros or whatever dominant comic filmmakers were occupying the industry at a given moment.  Hell, the serio-comedic melodramas of Judd Apatow would be a perfect fit for someone like Ford.  But it appears that the call has finally been made and answered, because Ford is in fact joining the cast of Anchorman 2: The Legend Continues.

Review: Despite solid chuckles and insightful commentary, The Campaign (2012) fails to respect the reality of its story.

The Campaign

2012
85 minutes
rated R

by Scott Mendelson

Jay Roach's The Campaign is both painfully stupid and pointedly smart at the same time.  As a film, it's a chaotic and implausible mess, going from one major event to another with no real connective tissue.  It has outrageous events occur onscreen and mostly ignores the real-world implications of said event.  Yes, it is technically 'funny' in that its major characters do and say things that elicit laughs.  But those laughs come at a high cost, as the film often sacrifices its inherent drama and potential realism for the sake of extended improv riffs.  But in terms of what the film has to say about modern politics, it is both insightful and painfully cynical.  Jay Roach has played in the sandbox of real political drama, having helmed the superb Recount and Game Change for HBO.  Like Ferrell's last big-scale vehicle, The Other Guys, it has whip-smart social and political commentary trapped inside a genuinely bad film.

Weekend Box Office: Bourne Legacy tops while The Campaign and Hope Springs debut well and The Dark Knight Rises presses upward.

To the surprise of no one, the top film of the weekend was The Bourne Legacy.  With $38 million, the fourth entry in the ten-year old franchise opened well above the $27 million debut of The Bourne Identity during June 2002, but that's mostly due to ten years of inflation as The Bourne Identity's opening would equal $38 million today.  It's below the $52 million debut of The Bourne Supremacy back in July 2004, and understandably well below the $69 million opening weekend of The Bourne Ultimatum back in August 2007.  This spin-off/reboot of the Matt Damon-led Bourne series showcased Jeremy Renner as a totally different government assassin in the same world as the three prior Bourne films.  Helmed by Tony Gilroy (who had a hand in writing all three prior adaptations), Universal sadly spent $125 million on this quasi-sequel.  So if the film 'merely' approaches the $121 million gross of the first film and earns about that much overseas ($92 million for a $214 million total), it won't be profitable.  The endless loop on USA starting in 2015 won't hurt. The second and third films grossed $176 million and $227 million in the US respectively while earning $288 million and $422 million worldwide respectively (Bourne Ultimatum basically doubled Bourne Supremacy's overseas take).  If the film excels overseas, which it now must, matching the $288 million gross of Bourne Supremacy isn't out of the question (it opened in a few markets this weekend and earned $7.8 million overseas).

John Gosling previews the week's new releases (08/10/12)

This week brings us three major releases, one opening Wednesday, the other two on Friday.

The character of Jason Bourne made his debut in the 1980 Robert Ludlum book, The Bourne Identity. The story opens with Bourne being found with bullet wounds and no memory of who he is or why he has been shot. As the tale unfolds he soon discovers that he is a highly trained individual, possibly a spy or assassin, and begins to piece together the reasons why he was left for dead. Since his debut, Jason Bourne has gone on to feature in two further Ludlum penned stories, along with six written by Eric Van Lustbader (a seventh is due at the end of 2012). The character actually made his screen debut in an extended TV movie in 1988, which featured Richard Chamberlain as Bourne, and Charlie's Angels's Jaclyn Smith as Marie. While there were differences between this version and the novel, it would be a closer adaptation than the next version to reach the screen. Director Doug Liman, a fan of the book since reading it in high school, decided he wanted to adapt it for the screen while finishing up work on his breakthrough movie, Swingers. It would take two years before he could wrangle the rights from Warner Brothers and a further year of writing with Tony Gilroy before a workable script emerged. Liman discarded all but the central premise for his version, contemporising the themes and politics in the process. He also added elements garnered from his father's memoirs, a former NSA operative, who had had dealings with Oliver North - traits of whom would be the basis for the character of Alexander Conklin.

2011 year-end wrap-up part III: Good films you missed.

This is the third of several year-end wrap essays detailing the year in film.  This time, it's about highlighting the good or great films that slipped under the radar somehow.  Some got rave reviews and wide releases but stiffed at the box office while some never made it out of limited release.  All are worth tracking down and all are, with one exception I will point out, now available on DVD/Blu Ray/download/etc.  And nearly all of them are not hardcore independent films, but seemingly mainstream dramas and comedies that would have likely merited a wide release even a few years ago.  Once again, these will be in alphabetical order. 

2011 Summer Movie Review part I: The Moments That Mattered

We'll see if my schedule allows me to do a comprehensive 'end of summer' box office wrap-up, but since summer 2011 doesn't officially end until next weekend, I figure I've got time. For now, here is my annual rundown of the various scenes, performances, moments, and miscues that defined the summer just past. Because sometimes, discussing the 'parts' is more fun than discussing the 'whole'. I'll try to avoid divulging plot twists and the like, but consider this a SPOILER WARNING.

Best Fake-Out: Vin Deisel sacrifices himself for the team at the finale of Fast Five.
Even if you feel silly admitting that you cared about the characters in this fifth and inexplicably terrific entry in the eleven-year long racing action franchise, you cannot deny that the characters cared about each other.  What made the movie pop was the genuine sense of camaraderie and bonding that existed between our main characters, which is one of the benefits of being the fifth film in a long running franchise.  So when Deisel's Dominic Toretto separates himself from the pack during the final chase scene, apparently intent on sacrificing himself to give the rest of his friends (including his pregnant sister Mia and her boyfriend Brian) a chance at freedom and riches, I bought it.  The film had built up a genuine 'series finale' vibe, and it seemed completely appropriate that the franchise would end with Dom, the series's most prominent character, giving his life so that his sister's unborn child wouldn't have to grow up without a father.  When Toretto miraculously survived his one-man cannon-ball run, I rolled my eyes a bit.  It wasn't until a week later that I remembered that this fifth film actually took place BEFORE the third film in the series (Tokyo Drift), at the end of which Vin Deisel made a cameo appearance.  Point being, Dominic Toretto was never in danger.  But the film was so unexpectedly compelling and exciting that I completely forgot what I already knew going in.

Weekend Box Office (05/15/11): Bridesmaids scores, Thor repeats on top, Priest survives.

There was an undue amount of pressure for Bridesmaids (review) this weekend, as the Judd Apatow-produced film had to shoulder the burden of being a test case for the bankability of female-ensemble comedies.  Not merely able to get solid reviews and open with enough to be profitable, the film basically had to send a message to Hollywood that audiences would pay to see female-driven comedies that weren't squarely in the romantic comedy genre.  Whether or not Hollywood will actually take any heed is subject to debate (doubtful, any success that doesn't fit in the 'boy-centric fantasy/comedy' box is usually written off as a fluke), the film performed quite well in its debut weekend, grossing $26.2 million in its first three days.  Just as importantly, the film scored a big 3.34x weekend multiplier, meaning that its word of mouth matched its reviews and that it worked as a date-night choice for Friday and Saturday night.  The film rose 34% on Saturday and made almost as much on Sunday as it did on Friday.  The film scored a solid B+ from Cinemascore and  it played 67% female and 63% over-30.  That gives the film solid room to grow as the younger folks check it out over the next couple weekends, although the coming tsunami that is The Hangover II  (opening May 26th) won't help matters.  Still, the film cost just $32 million, so it's another win for Universal, a studio that has done best in the comedy arena over the last few years.  Point being, you can write up Bridesmaids as a triumph for female-driven comedies or just the triumph of a terrific movie opening well (in a just world, Kristen Wiig would be getting Oscar talk).  You pick.  Win/win.  And it will be Win/Win/WIN! is Nikki Finke makes good on her promise to retire from box office punditry (she swore to leave the field if Bridesmaids opened to over $20 million).

Review: Megamind: the 2D 35mm Experience (2010)

Megamind
2010
95 minutes
rated PG

I wrote in 2006 that, while both were fine films involving magic in the 1800s, The Prestige was superior to The Illusionist. The Ed Norton vehicle used magic to tell a more conventional and crowdpleasing period romance story. While the Chris Nolan puzzler was a more complicated, colder, more aloof picture that was actually about magic. So now we have the second animated fable involving the trials and tribulations of a supervillain. And a similar comparison can be made. Despicable Me is a terrific entertainment, and an emotionally-engaging little cartoon. Megamind is also solid entertainment and while it may not be as heartwarming, it has more beneath-the-surface pleasures than the former. That there can be legitimate debate over which supervillain's arc cartoon is the most terrific is a testament to how good a year it's been for animation.