83rd Academy Awards recap: The Oscars court the next generation

By Sarah Sluis

The best way to watch any awards show is with a DVR. But it's worth noting that for this year's Oscar broadcast, I mainly used my fast forward button for the commercials, not the show. I was most impressed with Anne Hathaway as a host--she has amazing confidence, sparkles, and possesses that chipper attitude that helps move things along. I suspect James Franco was supposed to be her laid-back, wryly humorous counterpart, but it didn't seem to work out that way. He wasn't a straight man, he was a dead fish. She hosted the show herself, and I enjoyed it. Mark me as one of those "next-generation people" the Oscars successfully won over, I'm guilty as charged.

The broadcast itself held few surprises. Most of the categories were a lock. The King's Speech was supposed to win Best Picture (along with Best Original Screenplay and Best Actor for Colin Firth), and it did. In fact, Tom Hooper even won Best Director over The Social Network's David Fincher, who has a greater body of work to support his talent. I now suspect Fincher will join the ranks of the groundbreaking directors whose work is rewarded on much, much later films: Alfred Hitchcock, who only won an honorary award, or Martin Scorsese, who was nominated six times before he won on his seventh nomination.

When The King's Speech finally won Best Picture, it seemed anticlimactic. As the producers thanked Harvey Weinstein, they cut to a shot of him with the biggest, grimacing sourpuss expression I've ever seen from someone whose movie just won something. Not even a chuckle, a smile? This year, the battle between The King's Speech and The Social Network served as a symbol of the Academy's conservative voting methods. Oscar prognosticators suspected that the Anglophile, feel-good story of a king would beat a movie about the motormouth underdog who founded Facebook, and they were right. Maybe if they make a movie in 2070 about the founding of Facebook, it will win.

Though most winners managed to throw in something clever, there were few tears or breakdowns this year. The award for best speech (watch it here) goes to Luke Matheny, a recent NYU grad who won for Best Live Action Short Film. In his acceptance speech, his filmmaking experience sounded like the reminiscences of an old, successful director. His mom did craft services! He forgot to get a haircut! His girlfriend composed the music! Turns out Matheny's film was rejected by Sundance and Slamdance, but now he's got the last laugh--and an Oscar.

The losing actresses didn't give convincing "happy" performances. Even though Natalie Portman was considered the strongest contender for Best Actress, Annette Bening looked disappointed when she lost. She deserves an Oscar! In the supporting actress category, Amy Adams looked sad when fellow actress Melissa Leo claimed the statuette, and her eyes betrayed a hint of moisture when she presented the short film awards later in the evening. Don't worry, Amy! You'll get your chance. As for Bening--quick, line up another awards film. Maybe the fifth nomination will be the charm?

Social shout-outs. I did in fact "two-screen" the Oscars, but only to IMDB Lena Horne and read her obituary (after Halle Berry mentioned the trailblazing actress). And play spider solitaire during slow moments. Turns out James Franco was tweeting the whole time (maybe that's why he was so stone-faced--distraction?). Besides extra content offered online at ABC, a million other websites liveblogged the Oscars.

The broadcast itself drew heavily from YouTube. The Auto-tune the News people turned Harry Potter and Twilight dialogue into ballads, and the P.S. 22 choir, a product of YouTube viral fame, sang "Over the Rainbow." A note for next year: continue to replace montages with zeitgeisty moments like these.

For those that are now in withdrawal, rest assured. Some sites are already predicting the Oscar nominees for the broadcast in 2012.

Will audiences clamor for 'Hall Pass' or 'Drive Angry'?

By Sarah Sluis

The leader of the pack this weekend is Hall Pass (2,950 theatres), which our critic Ethan Alter described as the strongest Farrelly Brothers picture in years, "marrying their familiar raunchy sensibilities with a new�dare I say it?�maturity." Starring Owen Wilson and Jason Sudeikis, the movie centers on the week their spouses give them a "hall pass" to cheat and see what they're missing--or not. A few reviewers, including Alter, have singled out Richard Jenkins' performance as a lothario, so "hysterical" he "handily steals away the movie." Box-office predictions hem the comedy to no more than $20 million--likely lower.

Most publications haven't yet reviewed Drive Angry (2,290 theatres), the 3D vengeance-beyond-the-grave-with-a-speeding-car movie. Nicolas Cage stars in the "Cagespoitation" picture, "a whole new subgenre of filmmaking" according to one reviewer. The talented Cage has a notoriously erratic track record, perhaps because he values a hefty paycheck--the large-living star is now in the throes of insolvency. Amber Heard co-stars in the movie, which bears resemblance to exploitation movies in the 70s. Expected to open below Hall Pass, there's a chance a returning film could outsell Drive Angry.

Justin Bieber: Never Say Never is trying to woo back tweeners for a repeat viewing with a "special edition" that includes 40 more minutes guaranteed to induce Bieber Fever. I pity the parents who must endure another round of begging before hauling their kids to another screening of the 3D concert film, especially because our critic David Noh found the original 105-minute version "a mite overextended."

With the Oscars on Sunday, awards films should see a boost. Many nominated films are expanding into additional theatres. The top-ten drama The King's Speech is adding 300 theatres for a total of 2,386. Movies that largely exited theatres months ago, such as Winter's Bone (+115, total of 135) and The Social Network (+156 theatres, total of 269), are getting back in the game to take advantage of Oscar publicity.

The Oscar-nominated Of Gods and Men (3 theatres) will also open, though critic Daniel Eagan didn't think too highly of the drama's "careful, non-threatening" take that "substitutes a false piety for difficult issues of faith and dogma." He cynically acknowledges that this easy-to-swallow point-of-view makes the French movie "perfect Best Foreign-language Film Oscar bait." We'll see if it wins on Sunday.

Warner Bros. remaking sacred cow 'The Bodyguard'

By Sarah Sluis

When I heard Warner Bros. was remaking The Bodyguard, the first thing I thought was "Noooo! They can't do that." The second thing I did was pull up a YouTube video of Whitney Houston singing "I Will Always Love You."

After listening to the song (as it appeared in the movie), I can concede that the movie is a bit dated. The camera circling 360 degrees around Houston and Kevin Costner as they kiss? The saxophone playing in the background of the song? The fact that Whitney Houston's latest claim of fame is admitting her crack addiction on "Oprah"? But never mind. The Bodyguard is a sentimental, feel-good movie, a modern-day take on the "love from different social classes" variety of romance. And can we talk about the fact that this movie earned over $120 million? In 1992?

But how does one remake such an iconic film and its unforgettable song? The one thing that would pique interest in a remake is star power. Warner Bros. will have to cast a charismatic songstress (perhaps with a forte in a different genre of music?) that can attract viewers interested in seeing a movie about her, not a remake of The Bodyguard. Another key draw to The Bodyguard was its "backstage" view of a celebrity. In the age of celebrity Twitter accounts, TMZ, and reality shows centered on stars, a lot has changed, and including these details would make the script stand out. Dan Lin (Sherlock Holmes) is producing, and two newbie scribes with an action comedy script under their belt are rewriting. It turns out the original Bodyguard was conceived for Diana Ross and Steve McQueen, so perhaps the Costner/Houston version isn't the only way to tell this story. Is it time for the original Bodyguard to step aside? Here's the lyrical answer: If I should stay/ I would only be in your way./ So I'll go, but I know /I'll think of you every step of the way....

Scorsese fans rejoice, Marty's directing DiCaprio in 'The Wolf of Wall Street'

By Sarah Sluis

The spectacular crash of Wall Street's investment banks and the ensuing recession had the drama of a movie plot--but for real. As the banks were bailed out, Hollywood started mining the topic. Wall Street 2 released last year, the Oscar-nominated documentary Inside Job investigated what went wrong, and the Sundance feature Margin Call, which was picked up by Lionsgate, gave a look at a bank in crisis over 24 hours.

Now Martin Scorsese's next project, shooting as early as this summer, appears to be The Wolf of Wall Street. It's not merely an opportunistic decision--the movie was on track to shoot in 2007, but was sidelined after the success of The Departed. Leonardo DiCaprio, who was originally attached to the project, will star. The movie centers on Jordan Belfort, a Wall Streeter who scammed investors during the late 1980s with pump-and-dump and penny stock schemes. He later became a motivational speaker--an epilogue I doubt (but hope) will be included.

What makes this a typical Scorsese project?

One, a flawed hero. No one does this better than Scorsese--from his numerous depictions of mobsters, gangsters, and heads of organized crime, to his vigilante taxi drivers and abusive boxers, Scorsese has a knack for showing people committing pretty vile acts that are still somehow understandable or even likeable to the audience.

Two, excess.

The Reed Business review of the book states that the "main topic is the vast amount of sex, drugs and risky physical behavior Belfort managed to survive." Perfect. In addition to their criminal acts, Scorsese heroes favor nightclubs, drinking/drugs, and having a good time. There's also an element of After Hours in here--the movie will take place in New York City, Scorsese's hometown, and he's great at lending a sense of place to his movies.

Three, DiCaprio.

DiCaprio's so thoroughly escaped the fate that seemed destined by his breakout film, Titanic (that is, becoming a leading man in forgettable romances) that it's hard to imagine him doing much else than character biopics and serious dramas. Like Robert De Niro before him, DiCaprio has become a favored Scorsese lead, starring in Scorsese's past four consecutive feature films: Gangs of New York, The Aviator, The Departed, and Shutter Island. That's a lot of movies.

Scorsese latest directing effort, Hugo Cabret, will be seen this December, and DiCaprio's currently filming Clint Eastwood's biopic of famed FBI head Hoover in J. Edgar.

New strategies for theatre chains, digital movie downloads

By Sarah Sluis

Technology is a tricky beast, and changes in home entertainment technologies have caused both exhibitors and the home entertainment market to change their tune.

First up, AMC and Regal announced their plan to get into the acquisition and distribution market. Yes, exhibitors are adopting vertical integration, the same strategy that was outlawed by the 1948 U.S. vs. Paramount case. According to this article by the L.A. Times, enforcement of the edict has become lax, and there are several instances of exhibitors also involved in production or distribution. AMC and Regal will acquire small independent films for theatrical release. What could this be a response to? The rise of the simultaneous theatrical/on-demand market. Distributors like IFC Films have offered VOD releases for amped-up prices during a film's theatrical run, or even in advance of its release. However, AMC and Regal also plan to handle video/Internet distribution, so preventing the theatrical window from disappearing isn't their whole rationale. The article also points to declining amount of movies. Even as the number of screens increased slightly, product decreased 15%. I'm more skeptical of this argument. Theatres need more quality product, not just more product--even with more films, there could still be the same percentage of duds and winners.

The market for downloadable/streaming movies is also in flux. A recent survey of people who pirate movies conducted by PricewaterhouseCoopers released dismal news. Many of the piraters would only buy movies if they were cheaper, around $3. THR pointed out another comment from the survey's responders: They download because of window restrictions, wanting to watch the movie at home before it comes out on Netflix or legitimate online downloads. Because of the pressure to see content sooner, I predict the windows of availability for Blu-ray/Netflix/online rentals/downloading will continue to change. It's still being figured out. Warner Bros. is trying something new for its marquee releases Inception and The Dark Knight. A free "app edition" can be downloaded by iPhone/iPad/iPod users, which has a few short extra features and five minutes of the movie. Then, for prices ranging from $7.99-$23.99, depending on the country, users can download the full movie. The app-to-download purchase allows for flexibility between devices and could also be a way to include more bonus content, like an Inception-themed game for a mobile device, for example. But it appears that Warner Bros.' biggest reason for releasing this is to work around Apple's own shortfalls. Apple simply doesn't have iTunes stores (or ones that offer video downloads) in every country, and this could be a way to bring Warner Bros. releases to underserved territories.

With new innovations (and challenges) in the movie downloading market and AMC and Regal stepping into the independent acquisition and distribution game, the entertainment market is showing itself to be surprisingly dynamic. It already seems laughable that people used to have to wait six months to see a movie on video. What other practices will seem dated a few years from now?

Shedding light on 'Dark Shadows'

By Sarah Sluis

Like cancelled single-season shows "Freaks and Geeks" and "Undeclared," the 1960s soap opera "Dark Shadows" was on air for just six years, but achieved a cult following that still endures. The first I heard of the show was during an episode of radio program "This American Life," which followed someone attending a convention for fans of the series--a sure sign of its niche popularity. Now Tim Burton, the go-to guy for dark movies, is helming a feature version that's currently in casting.

The appeal of "Dark Shadows," as I understand, is two-fold. One, it is about vampires and the supernatural, a more unusual choice for daytime soap operas. Two, it was very, very low-budget, leading to rather extraordinary gaffes, like people walking on camera when they shouldn't, and actors continuing their lines even after pieces of the set fell down around them. Burton will surely seize upon the supernatural element of the show, but will he also dare to introduce camp into the movie? A hint might come from the screenwriter, Seth Grahame-Smith, author of the book (and screenplay) Abraham Lincoln: Vampire Hunter. From a glance at the opening pages, it appears the book takes a tone of mock sincerity. "What follows, at last, is the truth," Grahame-Smith says in the introduction, purporting to have discovered lost documents revealing Lincoln was a revered vampire hunter. He's asking the readers to traverse the limits of believability to enjoy a story, the purview of comic book and talking animal movies--in other words, something not entirely unusual.

Johnny Depp will star as the vampire Barnabas, and Eva Green (The Dreamers) and Jackie Earle Haley (Watchman) have also been named to the cast. The latest (still rumored) addition is Michelle Pfeiffer, who would play a widowed recluse. Burton's longtime partner, Helena Bonham Carter, is also being considered for the role of Dr. Julia Hoffman. Between Dark Shadows and other gothic tales such as Abraham Lincoln: Vampire Hunter, Frankenweenie, and Pride and Prejudice and Zombies, it seems dark, quirky works are all the rage in Hollywood right now. But will any of them hit with audiences?

'Just Go With It' and 'Justin Bieber' finish neck-and-neck

By Sarah Sluis

After weeks of the top movies hitting the teen millions, three wide releases opened at $25 million or higher.

Just Go with It finished just ahead of Justin Bieber: Never Say Never, earning $30.5 million to the tweenybopper's $29.5 million. The Adam Sandler-Jennifer Aniston romantic comedy benefited from strong performance throughout the weekend, while Bieber's picture drew its biggest audience on Friday. Though he failed to win any Grammys last night, Bieber is still hot and his 3D concert film finished just under Miley Cyrus', and significantly higher than the Jonas Brothers' 2009 movie.

Gnomeo and Juliet boasted a surprisingly high finish in an animated-starved market, accruing $25.5 million. Though it was a "minor" animated film (to use Box Office Mojo's term) with little branding or expectations behind it, it also is distributed by Touchstone, a Walt Disney label. And no one has more experience marketing animated movies than Disney. In comparison, the darker 3D animated film Coraline previously held the record for a February-launched animated film, earning $16 million its opening weekend in 2009.

The Eagle had the most disappointing launch, ending up with $8.5 million. The audience skewed slightly older and attracted slightly more members under 35. Director Kevin MacDonald's (better-rated) 2006 film The Last King of Scotland still holds a spot in Netflix's Top 100 even though it earned just $17 million at the box office, so perhaps The Eagle can recoup some of its losses on DVD?

Opening in 15 theatres, Cedar Rapids was able to average $20,000 per screen, an impressive number that should bode well for future expansion. The mostly upbeat reviews (84% on Rotten Tomatoes) should turn into positive word-of-mouth that will propel this movie in coming weeks.

In the top ten, The King's Speech continued its run of minimal drops, dipping just 4% from last week for a total of $7.4 million. With a cumulative total of $93 million, it will be a week or two at most before it crosses the $100 million mark. I've seen this movie recommended heavily on Facebook in recent weeks as it's expanded into wide release, and yesterday it received an unintentionally amusing endorsement from "60 Minutes" Luddite Andy Rooney himself, who actually met King George. (I wonder what Andy Rooney would think of The Social Network...)

This Friday will also be a busy one. The sci-fi action movie I Am Number Four will open against the amnesia thriller Unknown and fat suit/cross-dressing comedy sequel Big Mommas: Like Father, Like Son.