April 17, 2014

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Oscars®: The Top 25 (Best Visual Effects)

Continuing on with a new weekly series I’m doing here at the site…we’ll be talking the top 25 Oscar winners in just about every single one of the Academy Award categories out there. Aside from the shorts and something like Best Sound Editing or Best Sound Mixing like I mentioned previously, I’ll be hitting them all over the coming weeks and months, including of course the big eight categories. I’m also potentially going to do one that doesn’t exist (a fictitious Best Ensemble category), but that’s just an idea I currently am toying with. We’ll see about that one.
Today I’ll be knocking off another one of the technical categories, with this one being the always interesting Best Visual Effects field. Depending on the category in question, I may wind up discussing the individual winners I’m citing pretty specifically or just giving more of a broad overview of the winners, but for now, I’ll still keeping it simple early on. Like I said over the past few weeks though, in all honesty, you all mostly just want to see the list anyway, so I have no problem obliging you there in that particular regard. All you have to do is just be patient over the next few paragraphs…
This time around, I’m just going the overview route, since seeing is believing for this category more than anything else. Also it really just depends on what sort of effects you prefer. We’ve got traditional in camera effects, blended animation, computer generated effects, and of course motion capture as well. Some folks might be partial to the older winners, while some really get it up for the newest winners. Me? Well, I’m caught somewhere in between.
I’ll basically just discuss my top ten a bit. To me, the best winner of this category so far to date is
Jurassic Park, which captured the imagination in a way that few other works have ever been able to do. Some other recent and groundbreaking winners in my top echelon include Avatar, The Curious Case of Benjamin Button, and Gravity. In most of those cases, they basically invented new technology for their films, and that’s worth something to me. I also have the unique Who Framed Roger Rabbit high up, as well as the immortal classic 2001: A Space Odyssey. Those movies have stood the test of time in a big way. I also have a personal favorite flick [...]

From 1997 to 2009 there were five $1 billion film grossers. Between 2010 and 2012, we added an additional ten such films.

Just a few years ago, had I written a piece entitled “There are no films guaranteed to gross $1 billion this year”, you likely would have laughed and said “Of course not!”. As recently as 2010, the idea that any movie could or would gross $1 billion in worldwide ticket sales was somewhat of a pipe dream.
From 1997 to 2006, there were just two films to reach that milestone, they being Titanic (the biggest movie of all-time with a seemingly insurmountable $1.8 billion) and The Lord of the Rings: The Return of the King, the Oscar-winning chapter to what can be argued is the finest screen trilogy of our time (that’s a debate for another day). In 2006, we saw the powerhouse success of Pirates of the Caribbean: Dead Man’s Chest which parlayed the unexpected popularity of the first film into an even larger haul for its sequel, breaking the domestic opening weekend record at the time ($135 million) and earning a massive $423 million in America and $642 million overseas.
In 2008, The Dark Knight pulled another “massively popular sequel to unexpectedly well-liked original” trick to the tune of $533 million in America (good for the second biggest grosser of all time in America, if only for a year) and just over $1 billion worldwide despite not playing in China due to that pesky “Chinese gangster hides Gotham mob money” subplot. 2009 saw James Cameron do that trick that James Cameron does yet again, with Avatar earning $1 billion worldwide in about seventeen days and going on to earn an eye-popping $2.7 billion.
to read more go to Mendelson’s Memos
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The Hobbit: An Unexpected Journey opens with an expected (and record) $84 million

The Hobbit: An Unexpected Journey (review/teaser/trailer) basically opened like a Lord of the Rings film, give or take various variables. Its $84.7 million estimated debut clobbered the December record, which is the $77 million earned by Avatar ($77 million, $80 million adjusted for inflation) and I Am Legend ($77.2 million, $89 million adjusted for inflation) in 2009 and 2007 respectively.
It soundly thumps the various other Lord of the Rings films, but this is where it gets tricky. The prior Peter Jackson Middle Earth pictures opened on the weekend before Christmas week, which I’ve long argued is the best weekend of the year to open your picture. So the fact that The Hobbit opened a week earlier makes this number a little more impressive, although the pre-Christmas weekend is more about legs than opening weekend. On the other hand, the prior films all opened on a Wednesday, meaning that their would-be opening weekend was spread out of five days. And of course, we have to take into account nine years of inflation and the whole 3D/IMAX price bump. So purely looking at inflation and comparing the Fri-Sun portion, this opening is about on par with The Two Towers ($62 million, but $84 million adjusted for inflation) and well ahead of Fellowship of the Ring’s ($72 million, but adjusted-for-inflation $66 million) and King Kong ($50 million, and $62 million adjusted for inflation) for what that’s worth. It’s a bit behind the $72 million/$95 million opening of The Return of the King.
To read more go to Mendelson’s Memos
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‘The Hunger Games’ wins box office for 4th week in a row

HollywoodNews.com: ‘The Hunger Games’ has been more than a little popular as the film has taken the #1 spot for box office earnings for the 4th week in a row.
The film reportedly brought in another $21.7 million this weekend while ‘The Three Stooges’ premiered and only brought in $17.1 million, states RadarOnline.com. With a fourth week as #1, ‘Hunger Games’ was able to do what no other film has done since ‘Avatar.’
The film has brought in about $337 million so far while it was only made for about $78 million.
What do you think about its success?
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John Carter is sci-fi fantasy done wrong

By Scott Mendelson
HollywoodNews.com: I understood Brian DePalma’s Mission: Impossible the first time I saw it in theaters. I had no trouble following Chris Nolan’s brain-twister thrillers (Memento, The Prestige, Inception). It was work, but I more-or-less ‘got’ the core narrative beats of LA Confidential and Tinker, Tailor, Soldier, Spy. But by golly John Carter is a confusing muddle of a movie. There has been all kinds of hand-wringing about the film’s rather large budget and its lousy marketing campaign.

I’ve taken the film to task for representing Disney’s obsessive desire to ditch their core female audience while spending untold millions on boy-friendly franchises that don’t pay off (HERE). But putting all of that aside, Andrew Stanton’s visually ambitious and cheerfully innocent boys’ adventure film does indeed have a few moments of visual splendor and gee-whiz action. But it is saddled by a needlessly convoluted narrative that goes nowhere slowly, and that further strains patience by telling its story through cryptic exposition as well as inexplicable casting and costuming choices that renders a large chunk of the supporting cast indistinguishable from each other at key junctures.
The plot, such as it is, concerns John Carter (Taylor Kitsch), a bereaved Confederate soldier who ends up transported to Mars through sci-fi happenstance and ends up embroiled in a civil war. That’s the gist of the story, but the film spends nearly an entire act getting him to Mars and much of the film establishing and then explaining the various complications that I’m sure were in the original novel but feel like needless padding in the cinematic adaptation. It may not be fair to compare John Carter with other recent fantasy franchises, especially as the Edgar Rice Burroughs 1912 novel is seen as a major influence on the last 100 years of genre storytelling, but Stanton and his team make a key mistake in the construction of this film. In short, instead of giving us complex and/or nuanced characters in a relatively simple (but engaging) story, they give us simple and visually confusing characters in a needlessly overwrought and distracted narrative that spends most of its time merely establishing the ‘scientific proof’ of what we saw before our eyes in the opening reel. Yes, John Carter is from Earth and yes some weird otherworldly force (represented by the always villainous Mark Strong) has given one [...]

Skyfall becomes the first 007 film to go the IMAX route

By Scott Mendelson
HollywoodNews.com: Not much to report beyond the news itself. IMAX has announced that the Sam Mendes 007 picture Skyfall will debut day-and-day in 35mm and IMAX screens on October 26th, 2012 (in the UK) and November 9th, 2012 (in the US and elsewhere). Back in the post-Avatar era, there was talk of Skyfall becoming the first 007 film to be released in 3D. That seems to have been scuttled, which means that James Bond fans will be able to enjoy the next 007 entry in glorious IMAX 2D. The Hollywood Reporter also notes that the highly successful pre-release IMAX sneak of Mission: Impossible- Ghost Protocol will indeed lead to more IMAX pre-releases of major titles, although no specific examples were offered (I’m betting Warner Bros. goes that route with Superman: Man of Steel if it’s any good).
There was also a promise of sorts from the company to do more ‘fanboy-friendly’ films alongside the animated fare, which doesn’t seem like news to me, but oh well. Also of note? They are expecting big IMAX business for their one-week engagement of The Hunger Games starting March 23rd. Point being, this is rather good news for 007 fans, as well as further evidence that IMAX, not 3D, is going to be the sign of big-budget prestige in the near future. And if Sony makes good on their threat to charge theaters for Real-D 3D glasses in May, it could have a ripple effect throughout the 3D business overall. I’ve long argued that the only thing stopping IMAX from making further inroads (and thus booking more titles at a time) is the shortage of available screens, but that will slowly become less of a concern over time.
To paraphrase the late Whitney Houston, I believe the IMAX is our cinematic future, the one thing (massive screens plus utterly surround sound) that home theaters cannot replicate. Anyway, share your thoughts below. Does the IMAX move give you more confidence in Skyfall? Does it make you want to see the film more?
T o read more go to Mendelson’s Memo
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Bradley Cooper vehicle “Paradise Lost” is dead

By Sean O’Connell
Hollywoodnews.com: This is surprising news: Legendary Pictures has pulled the plug on director Alex Proyas’ planned adaptation of “Paradise Lost,” which was to cast “The Hangover” star Bradley Cooper as Lucifer.
Previous reports made note of the film’s expansive budget, and sources close to the production tell THR that the cost and the enormity of the planned special effects were the ultimate downfall of “Lost.”
“Legendary is realizing it needs to be more fiscally prudent in the movies it greenlights,” the trade notes.
“Legendary also realized that in order to effectively bring to life Milton’s war between heaven and hell, it was going to need ‘Avatar’-like special effects. But ‘Avatar’-like effects call for an ‘Avatar’-like budget, and execs realized the technology wasn’t there to make the movie in the budget range in which they were working.”
Part of me admires the studio’s ability to bail on a project before getting in way too deep. But on the flip side, I really wanted to see Proyas bring this sprawling vision to the big screen. It’s unlikely this will ever happen, unless George Lucas or James Cameron decide they’d like to mount the project. Which is unlikely.
So for now, “Lost” is dead … and “The Hangover 3” is way more likely to happen now than ever before.
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“Titanic” 3D release gets trailer, poster

By Sean O’Connell
Hollywoodnews.com: The “King of the World” is about to soar off of the screen and into your lap.
James Cameron has been preparing a 3D retrofit of his Academy Award-winning epic “Titanic” for years. And now, with the film’s re-release inching closer, Paramount is mounting a campaign to lure audiences back to the ship of dreams to experience it like they never have before.
The updated “Titanic” sails into theaters on April 6. A new trailer celebrating the high-tech conversion recently landed online. The studio also shared the below poster, with an original design featuring Leonardo DiCaprio and Kate Winslet.
Released in 1997, Cameron’s masterpiece recreated the legendary ocean liner … just so it could be damaged and sunk to the bottom of the ocean. The film earned $600.7M domestically, making it the highest-grossing picture of all time. (Cameron surpassed his own record with “Avatar” in 2009.) Maybe this “Titanic” re-release can reposition the romance ahead of Cameron’s sci-fi thriller?
Here’s the trailer and poster.

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2011 Summer Movie Review Part II

HollywoodNews.com: This summer was supposed to be the first real test for the mainstream viability of the 3D format in cinema. While the format had been a fringe indulgence for horror films and animated movies, it obviously became a full-on sensation following the release of Avatar in December, 2009. 2010 saw a handful of high-profile 3D conversions, as studios hastily converted some of their big-budget tentpoles (Clash of the Titans, The Last Airbender, Chronicles of Narnia: Voyage of the Dawn Treader) and/or low-budget cult pictures (Piranha 3D, My Soul to Take) into the format under the delusion that Avatar made $2.7 billion worldwide only because it was in 3D.
But this was the supposed to be the sink-or-swim year for the 3D film. Was it merely a passing fad, or was it here to stay? The answer is, alas, more complicated. First and foremost, as long as studios can spend $5-$10 million to convert a film to 3D and then charge an extra 33% or so per ticket, 3D isn’t going away. So while 3D was not the answer to studios’ prayers domestically, it took the industry by storm in overseas markets, which mattered all the more this year, the first summer on record where domestic box office was all-but beside the point. And of course, the embrace of 3D was always about more than just that $3-$5 up-charge. It was about countering overseas piracy, and on that front, it was a HUGE success. But when you look at the films that scored in 3D and the films that flopped in 3D, you notice something that should have been obvious. The films that hit were always going to be big hits, while the 3D flops never stood a chance in any dimension.
If you were to take a guess at the top films of summer 2011, they would probably include some combination of Harry Potter and the Deathly Hallows part II ($370 million), Transformers: Dark of the Moon ($350 million), Pirates of the Caribbean: On Stranger Tides ($240 million), Cars 2 ($187 million), Thor ($181 million), Captain America ($169 million), and Kung Fu Panda 2 ($164 million). In the realm of 2D, The Hangover part II ($254 million), Fast Five ($209 million) and X-Men: First Class ($146 million) were also destined to join the club, while Bridesmaids ($168 million), [...]

James Cameron helping launch “Avatar” exhibit in Seattle

By Sean O’Connell
Hollywoodnews.com: As James Cameron prepares to immerse himself in the alien world of Pandora for back-to-back “Avatar” sequels, fans of the director’s 2009 blockbuster can now head to an exclusive exhibit that explains the movie magic behind the original film … and tips its hat toward secrets that will power the sequels.
Housed at Seattle’s Experience Music Project and Science Fiction Museum and Hall of Fame, the “Avatar” exhibit will open to the public this Saturday following a Friday visit from Cameron, some of his “Avatar” cast, and Oscar winning visual effects supervisor Richie Baneham, the AP reports.
The exhibit, meant to be a theme park for “Avatar” fanatics, will house artwork and props from Cameron’s film, as well as virtual cameras that patrons can interact with to see how Cameron and his crew caught motion capture.
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