The UBS Evening Movie News 03.27.08
Posted by George H. Sirois on 03.27.2008
The “Three Different Movies, Three Different Experiences” Edition…
Welcome everyone to the latest edition of The UBS Evening Movie News. I'm George H. Sirois, and this week, I'll be talking about the three different experiences Cheryl and I had when we used this past Saturday to go to the Ziegfeld Theater in New York City for their Hollywood Classics run. But first, we got news to report, and the spotlight goes to another theater that's getting ready to open that will be offering a new take on how their movies are showcased. It makes for a pretty expensive trip, but it just might work…
TOP STORY
Get ready for the $35 movie ticket. That's the estimated price of tickets for a new deluxe cinema to open this year in suburban Chicago, one of 50 U.S. multiplexes set for construction during the next five years through a new $200 million joint venture headed by Australian entertainment conglomerate Village Roadshow.
The planned theaters will boast boosted amenities, including plush reserved seating, special parking privileges and upscale food and beverage offerings with seat-side waiter service.
Some or all of those offerings are available at existing deluxe cinemas in select U.S. markets that charge $20 or less for movie tickets. But Gold Class auditoriums will feature a 40-seat-maximum patron capacity and an even higher-end atmosphere, officials said Tuesday.
"It's an absolutely different environment than anything else that exists," Village Roadshow CEO Graham Burke said.
Village Roadshow Gold Class Cinemas also plans to open a site in Redmond, Wash., by year's end, with about 20 additional sites planned for rollout by 2010.
"The demand for luxury movie-going in the U.S. is very strong," said Kirk Senior, CEO of the new Burbank-based joint venture.
Companies partnering with Village Roadshow in the joint venture include Act III Entertainment, a company co-owned by Norman Lear and Hal Gaba; Michael Lambert's Lambert Entertainment; and the Retirement Systems of Alabama, a pension investment fund.
Village Roadshow operates more than 100 Gold Class screens in Australia, Singapore and Greece, part of its roughly 500-screen worldwide theater circuit.
"Village Roadshow Gold Class Cinemas are renowned worldwide for providing the ultimate luxury cinema experience," Village Roadshow deputy chairman Robert Kirby said. "Introducing that experience in the U.S. is a natural extension of our highly regarded brand."
Credit: Hollywood Reporter
Now, I've experienced something like this before in Richmond, VA when I used to live there. About twenty minutes away from our house was the Cinema & Drafthouse, a second-run theater that would show a few films that had already been in the main multiplexes. You would either sit at a table or at one of the bars with swivel seats, and you would be served food that was pretty much on par with your average bowling alley.
As for the high-end version that is being tested in Chicago, I see some pros and cons here. First of all, Gold Class is doing its part to make sure that going to the movies is as much an experience as it is going to a Broadway show. I can even see them enforcing a collared-shirt and no sneakers dress code to really push the upper class atmosphere. It wouldn't be something that people would go to on a regular basis as they do to the regular multiplexes, so there's less of a chance that you'll be distracted by cell phones going off, babies crying, customers chatting or yelling at each other, etc.
At the same time, you will have to deal with the waiters coming in to deliver your food during the film, so an experience like this would work better for a film that you already know and love and would like to see in a fresh new way. Plus, considering the quality of most of the movies these days, it seems like table service and higher forms of refreshments would only be seen as an attempt to mask the fact that the movie you're watching sucks.
So I would recommend that, if they do this, they do it to showcase a classic film, something that people know they're going to love when they get dressed up and pay their $35. It's going to be much more worthwhile to spend that kind of money and see The Exorcist than to see the remake of Prom Night. At least as long as it's the original version and not "The Version You've Never Seen."
SYBIL THE SOOTHSAYER
UPCOMING FILMS
21: Kevin Spacey, Kate Bosworth and Jim Sturgess star in this fact-based story about some MIT students who set out to Las Vegas in order to count cards and fleece the gambling houses.
It's good to see Kevin Spacey back on the big screen. And from what I've seen in the commercials and trailers, this looks like it'd be a film that's not only entertaining, but somewhat unpredictable. Always a plus.
Stop-Loss: Ryan Phillippe plays a decorated Iraq war hero who makes a celebrated return to his small Texas hometown and tries to make peace with civilian life ... only to be ordered back to duty, much to his dismay.
When I first saw the trailer on Valentine's Day before Juno, this looked like it would be an above-average drama that would successfully cater to the late-teen / early 20s crowd. Then I saw the same trailer two days later before seeing Atonement and There Will Be Blood, and it started to get a little preachy to me. It has potential, but it also seems like cannon fodder for the pro-war group to use when they complain about the "Hollywood Elite" forcing their ways on us.
Superhero Movie: From the guys who brought you "Scary Movie" and "The Naked Gun" comes a new goofy parody of just superhero movies.
Seeing this commercial really pisses me off. They say this is from the creators of "The Naked Gun" and it features Leslie Nielsen, so naturally the first thought would be, oh, it's a Zucker Brothers movie. But it's not! Robert Weiss produced it, and so did David Zucker, but the writer and director is not a Zucker. He's not even one of the "five writers of Scary Movie." Craig Mazin was one of the writers of Scary Movie 3 and 4, and that's as close to the Zuckers that he got. And based on what I saw on the commercials, if you find yourself yearning for the coherence of Scary Movie 3, there's a problem. I'm not rushing out to see this one.
Run, Fat Boy, Run: Simon Pegg plays a pudgy guy who leaves his fiancée on their wedding day only to discover years later that he really loves her.
This one, I'm really hoping is good. I'm a big fan of Simon Pegg – loved Shaun of the Dead and Hot Fuzz – and the fact that he helped with writing the screenplay is one hell of a positive. Michael Ian Black…. Well, I like his sense of humor and I enjoy his appearances on VH1, but I hated his show Stella. I know the show has had its share of fans, but I was not one of them. So I hope that the good version of Michael Ian Black worked on this story and not the other one.
DVD NEWS
Just in case you've felt the strong urge to see a fake shark clamp onto Batman's leg in Blu-Ray hi-def, have I got some news for you! The 1966 Misunderstood Masterpiece Batman: The Movie is coming to Blu-Ray on July 1st!
The disc comes with a great deal of extras including commentary with Adam West and Burt Ward and commentary by screenwriter Lorenzo Semple Jr., the interviews from the 2001 DVD release and a featurette on the Batmobile, an interactive tour of the Batmobile, on location, a pop-up trivia track, trailers, galleries and new high def featurettes Batman: A Dynamic Legacy, Caped Crusaders: A Heroes Tribute and Gotham City's Most Wanted.
And for all you film music fans (like myself), the score is available as an isolated audio track so you get to hear the classic jazz riffs.
In addition to the regular DVD, a very limited run of 5,000 units will come in special packaging with a Hot Wheels Batmobile. The two versions will be priced at $39.98 for the regular edition and $59.98 for the limited edition.
You guys remember my review of the Season 1 HD-DVD / DVD combo discs for Star Trek: The Original Series? Well, I was really looking forward to getting the eventual Seasons 2 & 3 releases, especially if they were going to do the same sort of combo setup.
One problem: HD lost the war, which means no more HD-DVDs! There went my chance to get some of my favorite episodes – "Mirror Mirror" probably my all-time favorite one – with the re-mastered visual effects and re-orchestrated score. But then came the good news: Seasons 2 & 3 are getting standard DVD releases in August!
The new effects will be there. New supplements and more Billy Blackburn footage will likely be included, and since I only saw the standard sides of the discs, I know the masters are going to look better than the show has ever looked.
There's still no announcement of a Blu-Ray version yet. Paramount still has to announce ANY Blu-Ray titles, but that should be only a matter of time.
Fans, mark your calendar for August 5 when the sets arrive.
Credit: DVDReview.com
MOVIE TRAILER OF THE WEEK: Iron Man
Here's the new trailer to the Jon Favreau film that hits theaters on May 2.
JIM WEBBING AND HIS IT'S-THE-HONEST-TRUTH-DEPARTMENT
Not to be confused with the protests outside the theaters calling for an end to shitty spoof movies…: The geeks have been heard. Faced with a grass-roots boycott of its films, bicoastal protests at screenings of its Friday opener Superhero Movie and a campaign calling its co-chairman "Darth Weinstein," the Weinstein Co. said Monday that it now plans to release two versions of Fanboys. The company said it will release the two versions on DVD, and a company source later said that is exploring two theatrical versions.
Fanboys, about four diehard "Star Wars" fans who break into George Lucas' Skywalker Ranch in order to see The Phantom Menace on the eve of its release, wrapped production two years ago and has been stuck in limbo as a tug-of-war between Harvey Weinstein and the filmmakers waged over competing versions of the movie.
The latest announcement did nothing to satisfy the filmmakers, who accuse the company of only putting out the announcement in order to sidestep a meltdown at this weekend's box office.
"This is more about avoiding picket lines at 'Superhero' than it was about making a decision about the release of our movie," said Kevin Mann, one of the producers.
Mann - along with producer Matthew Perniciaro, director Kyle Newman and writer Ernie Cline, who originated the story - worked on Fanboys in 2003 with Kevin Spacey's Trigger Street coming on board in 2005. The cast, including then up-and-comers Jay Baruchel, Kristen Bell, Seth Rogen and Dan Fogler, all signed up for a script that one year made the Blacklist, the annual industry ranking of the top scripts in town. Footage began making the rounds at "Star Wars" festivals, while 40 minutes of Fanboys' rough cut was screened at Star Wars Celebration and Comic-Con, where it was enthusiastically received by a standing-room-only crowd last year.
The Weinstein Co. picked up the project in late 2005, and following production slated Fanboys for release Aug. 17, 2007. That got pushed back to a Jan. 18 release. Then it went off the grid altogether.
Insiders said the root of the problem was Weinstein's issue with the underlying story in Fanboys. The cross-country adventure is put in motion because one of the characters is facing cancer. Late last year, the company decided it would do reshoots, hiring Judd Apatow's producing partner Shauna Robertson to oversee a $2 million reshoot of four scenes done by director Steve Brill (Drillbit Taylor). That, combined with re-editing, created a version that excised the cancer subplot.
"Harvey feels it's hard to market, especially with this cast," an insider said. "He wants to market to a more teen audience. The filmmakers wanted a dramedy along the vein of Stand by Me."
The Weinstein Co. this year began testing both versions. Unprompted by the filmmakers, "Star Wars" fans began uniting to oppose the non-cancer version, led by the 501st, a "Star Wars" fan group named after a fictional battalion. The group created a Web site that provided updates on developments while also lampooning Harvey Weinstein by Photoshopping him in Darth Vader drag.
The test screenings yielded a minuscule win for the non-cancer version -- one insider said the difference was only two test points -- but that only emboldened the geeks. And some of the producers remained unmoved.
"The original reason we wanted to get involved with this script was because it was a comedy with heart," Mann said. "In my opinion, when the cancer was taken out, the heart went with it."
So basically what we're seeing here is the Weinstein's wanting to re-create the success of other comedies that we've seen before – and again and again and again – instead of taking a chance on something that has been proven to be not only entertaining but also very heartwarming. It's such a shame to hear of a film that has such potential and then to hear about it being cut off at the knees by the very people responsible for all of us seeing it.
This is just another sad example of producers underestimating the intelligence of the movie-going public. I'm considering myself onboard in support of the correct version of this film.
Credit: Hollywood Reporter
There's hope for Vince yet: World Wrestling Entertainment has tapped Steve Barnett senior VP of production at WWE Films as the division ramps up a slate of films to produce.
Barnett was most recently a senior VP at indie production company Titan Film Group, and senior VP of production and development at Dimension Films, where he oversaw such films as Frank Darabont's "The Mist," as well as the upcoming remake of horror pic "Piranha."
Before Dimension, Barnett was exec VP of production at Mark Canton's Atmosphere Entertainment, helping shepherd such projects as "300," "The Spiderwick Chronicles" and George A. Romero's "Land of the Dead." He also exec produced Romero's latest, "Diary of the Dead."
Barnett also served as senior VP of production at Michael Ovitz's Artists Production Group.
The strength of WWE's brand encouraged him to make the move to the company. "There are very few entertainment companies in the world that can market their brand as effectively as WWE," Barnett said. "I am very excited in developing and producing films and television for a company with that kind of focus and potency."
Barnett comes to WWE Films as the production arm is in the midst of overhauling the types of films, direct-to-home video titles and scripted TV shows it will produce starring its stable of performers.
The idea is to produce a slate of PG-13 pics, budgeted at around $20 million each for theatrical releases that range across all genres, rather than solely action or horror pics that go after a hard R rating, like its previous releases.
The company is currently lensing its fourth pic, "12 Rounds," a New Orleans-set actioner starring John Cena.
"If we do our jobs right, we'll make movies that appeal to all audiences," Barnett said.
WWE Films produced three pics -- "See No Evil," "The Marine" and "The Condemned" -- before hiring former Village Roadshow exec Michael Lake late last year to take the reins and educate the biz on what types of films the company is looking to make. "What we're saying is, don't make any assumptions about anything," said Barnett, who reports to Lake.
As part of its revamped movie efforts, WWE Films brokered in February a first-look deal with Fox Filmed Entertainment, through which the company's pics will be distributed. "12 Rounds" will be released under the Fox Atomic label.
Let me just say right here that I have yet to see any of the three WWE films, but I do have See No Evil on my Netflix queue. That being said, it seems like Vince is doing his part to keep the company going, but thankfully he's getting the right people involved that have experience in the industry. Given enough time, this will be looked at as a legitimate production company and less like an extension of the WWE umbrella.
If you're a Cowboys / Eagles / Redskins fan, you may want to avert your eyes.
The rest of the NFC East can have their cheerleaders. We're perfectly fine having the lovely Reby Sky as our representative. Don't believe me? Take a look for yourself…
This year, my wife and I decided to spend Easter weekend at home. We had been so damn busy over the past several weeks and we were looking forward to just kicking back and relaxing. Plus, we had three Hollywood Classics films at the Ziegfeld Theater that we wanted to see, so we figured it would be perfect if we could get them all viewed in one day.
This was Spielberg Week at the theater, so they were screening Back to the Future (produced by Amblin Entertainment), E.T. The Extra Terrestrial and Jaws, in that order. I had no idea how many people would have the same plans as us since it was not only Easter weekend (don't ever mention this holiday to Quentin Tarantino or Robert Rodriguez), but the Ziegfeld barely advertises their Hollywood Classics. Two years ago when I saw 2001: A Space Odyssey, there were maybe 25-30 people there.
When Back to the Future started, I was happy to see over 200 people sitting in the theater. And there weren't just film fans that wanted to see an old favorite, there were families with little kids that had never seen this film before. They were being exposed to a classic 80s movie on the best screen possible. And we noticed as the film played that this is really one of those great timeless films that plays just as well on the big screen now as it did 22 years ago. When George McFly mans up and punches Biff across the jaw, everyone cheered. When the end credits started, more cheers. While I was in the bathroom after the movie ended, kids were talking to each other about their favorite parts. It was as if they had finished watching a movie that was just released last summer. I couldn't have been happier to see those kinds of reactions.
After taking an hour-long walk around the area, Cheryl and I went back into the theater to see E.T. The Extra Terrestrial, and there was a decent amount of people for this one. Less than what was there for the first film, but still a respectable crowd. There was, however, one big problem. The version we saw was the 20th anniversary edition. You know that one, right? E.T. enhanced with CGI. Walkie-Talkie's instead of guns. Extra scenes that didn't add anything. Yeah, that one. The ending still got to me (no matter how many times I see it, I still get choked up at the end), but I was nowhere near the mess I was when the ending was shown at the John Williams concert we went to in '06. And seeing this version instead of the original played a part in that. I'm just glad that I got the special edition DVD that has both the ‘82 and ‘02 versions.
Once that movie was over, Cheryl and I got some dinner and then came back for Jaws. This really got me excited, because this would be the first time I could see this in a theater (it came out in '75, I was born one year later, you do the math) and this would be the first time Cheryl had ever seen it. When we walked in, we noticed that the theater was half-full. If you had ever seen how many seats the Ziegfeld holds, you'd know that when there are a lot of people there, it's a real special experience.
Before the movie began, a gentleman by the name of Gary got up to introduce the movie and to give a few fun facts about the behind-the-scenes troubles with getting the shark to work. He also said that he was not employed by the theater and was not instructed to do this; he contacted the theater and requested it, out of love for the films that were being shown.
Now, how cool is that? The theater management had no problem at all with Gary coming in to get the audience ready for the movie. And the audience enjoyed the introduction just as much as the film itself.
Seeing Jaws on the big screen was terrific, and both of us believed that was the perfect way to close out the day at the Ziegfeld. After the movie was over, I got to talk to Gary and his two friends that were with him, Seth Shire (who writes his own movie blog HERE) and another guy whose name escapes me, but who made an excellent point while we were talking. He said that if the Ziegfeld put in for some advertising of their Hollywood Classics run, that night's screening would have sold out. All three of them were very cordial to me, and Gary directed me to a site that he is a member of: Cinema Treasures. Make sure you check it out… after you finish reading this, of course.
Anyway, the main point I'm making with this is that there is an audience out there that is willing to see these classic films in the theaters. All that needs to happen is for theaters to take a chance, put some of these classics back in for screening, and – most importantly – let people know they're there! They'll come and see them, trust me. There really is something special about sitting in that dark room with a bunch of fans watching a beloved film on the biggest screen possible.
So the moral of the story is to keep an eye out for any times your local theater decides to try something like this. It'll give you a chance to see something you love the way it should be seen.
And that's a wrap for Chapter 58 of The UBS Evening News. I'm George H. Sirois, and I'll see you next week! And if you're in the New York City area, make sure to come to the Planet of the Apes screening at the Ziegfeld (54th Street & 6th Avenue) this Saturday night at 8pm! If seeing a brand new print of the classic won't persuade you to come, I'll be there! And if that's still not enough, Gary'll be there!
ya see...the thing is this...there aren't enough movies anymore worth the $20 for the bloody DVD, let alone $70+ for a couple or family.
Posted By: Darth Mortis (Guest) on March 27, 2008 at 02:19 AM
I love the continued running update of your Ziegfield experience. Your prior mentions have sparked much dialogue amongst my friends about how great it would be if we had access to a similar theater and what films we woulld love to see. I'm going to start petitioning our megaplex! In the short term, consider me very jealous.
Posted By: Jeff (Guest) on March 27, 2008 at 10:42 AM
"Let me just say right here that I have yet to see any of the three WWE films, but I do have See No Evil on my Netflix queue. "
I have seen all three WWE films, and if you want to see one, See No Evil is the right choice. It is the only one of the three that I purchased after seeing it in theatres. See No Evil is good for mindless slasher flick entertainment. The Condemned is good for Mindless action movie entertainment. I honestly didn't care for The Marine, and no it had nothing to do with John Cena being the lead. It just wasn't a good movie. To describe it like Randall from 'Clerks 2', It's 90 minutes of a guy running in slow motion to get away from explosions, and diving in water."
Posted By: Todd (Guest) on March 27, 2008 at 10:56 AM
I Wish the theatres by house did stuff special like that because i would love to see a three stooges fest or a coen bros. fest
Posted By: StoogeFan (Guest) on March 27, 2008 at 01:08 PM
Movies are still made to be seen in a theatre. Nothing beats it. STILL. It's too bad that cost has become a factor, and I can understand that. It's starting to be that way with every form of entertainment, and as usual, the common man loses the most.
Posted By: Sukie (Guest) on March 27, 2008 at 01:30 PM
Re: Fanboys and the Anti-Weinstein Boycott
The 501st Legion is not involved as an organization in any protests, boycotts, or movements related to the film Fanboys, nor do we have an opinion or position on the film (which has not yet been released). A few of our more than 4,000 members in 47 countries participated in the project, and accordingly may have their personal opinions about the current issues surrounding the project. But their participation in this film was not coordinated through or sanctioned by the Legion. Our organization is an all-volunteer costuming club that focuses on official Star Wars promotions and charity work. Mounting protests is counter to the Legion's mission and would detract from the time and energy that we currently devote to more meaningful causes. If you would like to learn more about the 501st and what we do, please feel free to contact us through 501st.com. Thank you.
Posted By: tuskentrooper (Guest) on March 27, 2008 at 11:01 PM
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