By Christopher Stipp
February 27, 2004
I HEART GOOD TRAILERS
I know it’s almost a cliché to admit but the one thing I like about hospital shows is when they rub those two white paddles together with that clear, K-Y jelly looking stuff and yell “clear” as they either save or do away with a character.
It was getting fairly desperate for me as I was looking down the road, hearing only the chirp of tiny crickets as I wondered where the hell Hollywood went on vacation. You have 50 FIRST DATES sitting on top of the box office for the second week in a row, a full twelve million dollars separating first and second place, and I am, frankly, disappointed in all of you. If you keep watching them, they will make more. It’s like Tribbles or Gremlins. Adam Sandler doesn’t do media junkets because he knows you will keep coming back for more. Sigh. Well, expect some of the same thing reconstituted, rehashed, reworked, tweaked, and put on a platter for you to consume with your millions sometime in the next few months. But, I am not here to dwell on mediocrity. I want to herald a better week of new trailers that look to make their inroads before the summer movie season begins to get into full swing. Like Booger from the REVENGE OF THE NERDS echoes in the gymnasium when they all find a new place to live: “It’s about fuc*in time!†I couldn’t agree more.
And before I forget, if the mood hits you a certain way, check out the new and improved PUNISHER trailer that’s being circulated on Yahoo!. It actually redeems the previous sins, egregious as they were, committed by the studio’s first couple tries at an acceptable trailer. This new trailer should have been the *first* one released and would have stopped any of the hemming and hawing most people have been doing now that the others were taken into consideration. That’s a shame, really, as some early sneak peeks into the final version of the flick actually show it to be a nice ride and not completely without merit.
And hey, let’s all give it up to I HEART (insert your own cute-looking heart here) HUCKABEE’S. This trailer or clip, or whatever it wants to call itself, is the best thing I saw all week. In fact, if you have a family I urge you to check it out because Naomi Watts, who stars exclusively in this thing, could very well save your family’s lives with the powerful, dramatic performance she gives in less than twenty five seconds. At the very least she’ll be the shining beacon to your young teenage boys. Or girls, depending on which way, you know, they “lean.†Why aren’t all trailers like this? They all should star Naomi Watts doing a slight variation of what she does in this trailer.
Director: Gary Winick
Cast: Jennifer Garner, Mark Ruffalo, Judy Greer, Kathy Baker, Phil Reeves, Andy Serkis, Samuel Ball, Kiersten Warren
Release: April 23, 2004
Synopsis: On the eve of her 13th birthday, all Jenna Rink wants is to be pretty and popular. After a humiliating experience with the coolest kids in school, Jenna makes a desperate wish for a new life. Miraculously her wish comes true, but with one catch… she’s only five days away from her 30th birthday. Jennifer Garner plays Jenna and Mark Ruffalo plays Garner’s childhood friend and love interest. Judy Greer plays Lucy, Garner’s best friend, Kathy Baker plays Garner’s mother, Phil Reeves plays Garner’s father, Andy Serkis portrays Garner’s boss and Samuel Ball portrays Garner’s boyfriend.
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Progonosis: For those with an XY chromosome: Horrid. For those of the cuter persuasion: a must see.
Women everywhere will not stop reminding their significant others that, come April 23rd, your collective butts will be safely planted in a movie seat watching this movie.
I love the whole changing bodies/minds/getting an older body with the same psyche movie genre which reached its nadir with Judge Reinhold and Fred Savage (I still watch that thing when it comes on cable. I almost feel ashamed admitting that publicly.). It’s a great premise for a film if you’re watching as a twelve-year-old: what if you could be all grown up without having to go through the awkwardness of puberty, the heartache, the heartbreak, the parties, the growing up, the double teaming of twins after a torrid night of Jager shots in a seedy Mexican restaurant, etc.? If you’re watching as an adult, then, the movie becomes more about capturing something innocent about someone and just supplanting that into the body of a thirty-year-old body of someone who looks like, let’s say, Jennifer Garner. Add a little Mark Ruffalo into the mix as forlorn object of desire, put in a whole lot of mediocrity, bake with a little uninspired camera work and end, somehow, with someone learning a very good lesson about growing up. Am I wrong to suggest it can all be contained thusly?
The movie is directed by Gary Winick who garnered some attention for his work on TADPOLE, a wonderfully constructed movie about a young boy who thinks like a boy, looks like a boy, but has a thing for really older ladies. 13 GOING ON 30 is about a young girl who thinks like a girl, no longer looks like a girl, but who will have a thing for an older dude. I’m not knocking Winick at all, but there just seems to be a close, celestial simulacrum to both films. Obviously, this trailer has a lot more public attention than his other film had and with Jennifer on point for this operation it stands to reason there will be many a young girl, girlfriends, wives who will clamor to see this vehicle.
Also in this trailer you’ll catch Judy Greer who, if you don’t recognize the name, is playing the role of Jennifer’s best friend. Again, if you don’t immediately recognize the name or face and are having a bout of “don’t I know her?” is because she has also played the part of the best friend in WHAT WOMEN WANT and THE WEDDING PLANNER. It is also interesting to note that there are no less than four writers on this film. Two of them helped pen WHAT WOMEN WANT so take that for what it’s worth in information.
The rest of the trailer is a jumble of hilariousness ensuing as someone who, by all intents and purposes, is thirteen but who is allowed to mingle with the rest of adult society. I am wondering, judging by the romance between Ruffalo and Garner in the clips shown, if they’re gonna hook up like Hanks and Perkins did in BIG. I still have conflicting feelings about what that actually meant. Was it statutory rape? If Garner and Hanks still think like thirteen-year-olds is there some kind of sexual learning curve? I find it best to just leave it right there and let the rest of American women think it’s just sweet. The pseudo music video at the end just oozes all the possible estrogen it can muster, as it shows Mark smile lovingly, Jennifer and him swinging, and the two of them having “a moment.” The latter is the nail in the coffin for all the guys who think that they’ll get away without seeing this movie. Maybe it could actually be worth seeing. You can let me know after you get dragged to the multiplex.
Director: Wolfgang Becker
Cast: Daniel Brühl, Katrin Sass, Chulpan Khamatova, Maria Simon, Florian Lukas, Alexander Beyer, Burghart Klaussner, Franziska Troegner, Michael Gwisdek
Release: February 27, 2004
Synopsis: October, 1989 was a bad time to fall into a coma if you lived in East Germany – and this is precisely what happens to Alex’s proudly socialist mother. Alex has a big problem on his hands when she suddenly awakens eight months later. Her heart is so weak that any shock might kill her. And what could be more shocking than the fall of the Berlin Wall and the triumph of capitalism in her beloved East Germany? To save his mother, Alex transforms the family apartment into an island of the past, a kind of socialist-era museum where his mother is lovingly duped into believing that nothing has changed. What begins as a little white lie turns into a major scam as Alex’s sister and selected neighbors are recruited to maintain the elaborate ruse – and keep her believing that Lenin really did win after all!
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Progonosis: Uberzeugt.
I was sitting in a theater last week, about to enjoy my yearly sojourn to see SPIKE AND MIKE’S SICK AND TWISTED FESTIVAL OF ANIMATION when I saw this trailer. I was a bit confused as to why they were showing it at an event where the main attraction is a series of short films that contain lewd, base, sophomoric, objectionable and, most times, hilarious material. Not withstanding the pot smoke, it was not really the target audience this film wants to try and reach. Since I am of the demeanor that if it looks good, I’m halfway interested, but I was surprised by how much I have been ruminating over this particular trailer.
First of all, it’s subtitled. Yes, there’s reading involved. Since it is a foreign film, and since not everyone in the world speaks English, I do understand that choosing a flick like this is a lot like choosing a book. You have to be really interested in the people, time period, or the material. I submit to you, then, that the idea behind this film, it’s execution and the way the movie presents itself is good enough reason to take a chance on this one.
The trailer sets up the premise quickly and gets right to the point: it’s East Germany prior to the Berlin wall coming down and a kid’s mom falls into a coma. She comes to many years later, the push of capitalism and marketing brands changing the face of life as everyone came to know it, only to have her physician tell the young boy that she is very weak and cannot handle the undue stress that comes with a weak heart. What does the son do? He makes everything as it was during communism. Everything. Of course wackiness abounds, and a short clip of the woman’s son trying to recreate news is cheeky, but there seems to be a real heart that comes through in the translation.
For those needing name recognition, Wolfgang Becker is the mastermind behind the classic Kinderspiele and Schmetterlinge to say nothing of his opus, Tatort – Blutwurstwalzer. No, I haven’t heard of any of these, but being in America gives us some lead time in figuring out if it’s worth a look by finding out what the rest of the world thought. Judging by the reviews that some folks across the pond thought, it would be well worth your foreign film dollar.
Director: Andrew Adamson, Kelly Asbury, Conrad Vernon
Cast: Mike Myers, Eddie Murphy, Cameron Diaz, Julie Andrews, John Cleese, Antonio Banderas, Rupert Everett, Jennifer Saunders
Release: May 21, 2004
Synopsis: After battling a fire-breathing dragon and the evil Lord Farquaad to win the hand of Princess Fiona, Shrek now faces his greatest challenge: the in-laws. Shrek and Princess Fiona return from their honeymoon to find an invitation to visit Fiona’s parents, the King and Queen of the Kingdom of Far, Far Away. With Donkey along for the ride, the newlyweds set off. All of the citizens of Far, Far Away turn out to greet their returning Princess, and her parents happily anticipate the homecoming of their daughter and her new Prince. But no one could have prepared them for the sight of their new son-in-law, not to mention how much their little girl had…well…changed. Little did Shrek and Fiona know that their marriage had foiled all of her father’s plans for her future…and his own. Now the King must enlist the help of a powerful Fairy Godmother, the handsome Prince Charming and that famed ogre killer Puss In Boots to put right his version of “happily ever after.”
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Progonosis: Positive For the love of Christ, with no offense to Mel’s latest, can someone please explain to me why, in 2004, I still have to endure “All-Star†by SMASHMOUTH?
I’m sure they’re lovely people, living in wonderfully decorated mansions thanks to the royalties skimmed from this ditty, but could the people at DreamWorks have found some other song, “California Sun†by the RAMONES perhaps, that could work in their ad campaign for this film? Sigh. I am also aware of the obvious cries that this is an obvious cash-in on the success of the first, but TOY STORY 2 did well as a sequel and I actually have a feeling this one will do as well, if not better, than the first.
What I enjoyed from the first film was its sharp humor that was directed at Disney. There were some great pot shots taken against the Mouse House and they were spot-on. What made it enjoyable was that there was more wink-wink-nudge-nudge going on with the adults than most kid fare and, perhaps, made it the success it was when the first one was released. I am not sure what else is left in DreamWorks’ canon or cannon, but the additions of a few celebrity voices might help carry the sequel to box office gold. I’ll start with the minor players.
There’s Rupert Everett as Prince Charming. His entrance in the first part of the trailer is wonderful. It’s visually funny, with the shot of the Prince swishing his blonde locks back and forth in a slow-mo fashion, and Rupert has shown his bland comedic knack for mainstream comedy.
Next is the addition of Antonio Banderas as Puss-in-Boots. Again, it’s the blocking and the visual styles of the animation that make me actually want to see him more in this character. All Antonio does in this trailer is introduce the character and I’m already hooked on the part he’s playing; not bad for a man who starred in ECKS VS. SEVER.
After that we get the combo of John Cleese and Julie Andrews as Fiona’s parents. I really didn’t think much of the parts of her parents when the movie was in production but to hear, now, the characters come to life is wonderful. Julie Andrews, for most people, holds a special place and she is the most ideal woman to be the calm foil to John Cleese’s hotheaded character. It is ironic, if nothing else, that if you take a peek at Julie’s body of work in the last, oh say, five decades, she been heavily involved with Disney. Is a small piece of the larger Disney pot shots this film will take? It’s interesting to think about and maybe not so much of a coincidence. I am also of the mind that, if given enough time, John Cleese could make reading out of a dictionary humorous. His talents as a comedic professional stretch further than his stint on Monty Python and he is one of the best still working today. I am interested to see if he can do it all by voice alone and judging by his screen time in the trailer he does a great job presenting his persona through his inflections.
Without a doubt I will see this movie. I know there are animation purists who decry computer animation but times they are a-changin’ and I am more than happy to explore what can happen when you break the hegemony of what is traditional in this business. Again, I hope it’s not an empty cash-in. The first one was wonderfully constructed and can only wish that they realize what made the first one great and not attempt to pull a LION KING 1 ½.. It’s that kind of greed that deserves every barb that is cast against Disney.
Mayor of the Sunset Strip (2004)
Director: George Hickenlooper
Cast: Rodney Bingenheimer, David Bowie, Kim Fowley, Gwen Stefani, Cher, Beck, Alice Cooper, Liam Gallagher, Mick Jagger, Joan Jett, Courtney Love, Paul McCartney, Joey Ramone, Phil Spector, Neil Young
Release: March 26, 2004
Synopsis: THE MAYOR OF SUNSET STRIP is a wildly entertaining ride through rock-and-roll history as seen through the eyes of one supremely distinct figure, Rodney Bingenheimer. Directed by acclaimed documentarian George Hickenlooper (HEARTS OF DARKNESS), the film examines the life of Los Angeles’ “Mayor of Sunset Strip.” Coming of age in LA in the 1960s, just as rock-and-roll was bursting onto the scene, Bingenheimer was obsessed with all things musical. Though not a successful musician himself, he nonetheless befriended rock’s elite. In the 1970s, he opened up his own club, Rodney Bingenheimer’s English Disco, which played host to luminaries such as David Bowie, Iggy Pop, and Marc Bolan. It was in 1976, however, when Rodney found his true calling. On his weekly radio show on KROQ, Bingenheimer introduced several of popular music’s most celebrated voices to America–Blondie, The Ramones, The Sex Pistols, The Smiths, and Coldplay. Hickenlooper incorporates interviews with Bingenheimer and an endless parade of musicians, as well as a nearly unbelievable scrapbook of photos, to show just how closely connected Rodney was to the scene. A fascinating portrait of rock-and-roll’s unsung hero, THE MAYOR OF SUNSET STRIP also makes poignant commentary on the bizarre nature of celebrity and the infatuation it breeds.
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Progonosis: Positive.
After seeing the ubiquitous KROQ logo as one of the first images present in this documentary on the life and times of Rodney Bingenheimer I was feeling a bit perturbed. That’s all you get for the first 15 or so seconds, that he is the best thing that has ever happened to KROQ.
I thought, for a moment, that this might have been propaganda by showcasing one of radio’s oldest shills for a conglomerated industry that now makes sure I hear the new Britney Spears single once every hour. I mean if I wanted to hear about a DJ’s life, I’ll call up my local “zoo crew†morning show in my local market and get an idea for how some live on ramen and free concerts. Then, the cribbing of images of the Sex Pistols, the Stones, Green Day and Joan Jett started to solidify the internal consternation that was starting to boil over. But all that only lasted for a few moments. Out of nowhere, a voice from God maybe, said that this man, Rodney Bingenheimer was responsible for spinning Blonde, Ramones, Sex Pistols, and Nirvana long before anyone.
I was intrigued.
This man was allowed into the inner workings of the Beatles, the Stones, and even the Monkees? On top of that, he was the man who scored some Elvis groupie poon? Just based on the latter, I am apt to give the man his due and listen hard to what’s being said. And it was just then when Rodney himself says that he is “the designated driver between the famous and the not-so-famous.†Some say he should be a huge mogul with the experience he’s seen. From what I can see, though, and what becomes apparent by watching the last third of the trailer, is the examination of how radio and culture and fame all coincided with one man who has seen it all develop. Here is a man who has hung out with old and new stars of the rock age yet seems, oddly, very meek and meager about it all.
I went from jaded to engaged while watching the trailer to this and am eager to seek this one out when it comes to the local art house. Anything that can do that deserves at least a closer look. I am not pleased about where radio has gone, with the destruction of ma and pa stations across America, but here is someone who could possibly give an insight to where rock went and when it might return to the free, commercial airwaves. Plus, who can resist looking at a man with such a hypnotic coif?
Director: David O. Russell
Cast: Dustin Hoffman, Isabelle Huppert, Jude Law, Jason Schwartzman, Lily Tomlin, Mark Wahlberg, Naomi Watts
Release: Sometime in 2004
Synopsis: Albert Markovski (Jason Schwartzman), head of the Open Spaces Coalition, has been experiencing an alarming series of coincidences the meaning of which escapes him. With the help of two Existential Detectives, Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin), Albert examines his life, his relationships, and his conflict with Brad Stand (Jude Law), an executive climbing the corporate ladder at Huckabees, a popular chain of retail superstores. When Brad also hires the detectives, they dig deep into his seemingly perfect life and his relationship with his spokesmodel girlfriend, the voice of Huckabees, Dawn Campbell (Naomi Watts). Albert pairs up with rebel firefighter Tommy Corn (Mark Wahlberg) to take matters into their own hands under the guidance of the Jaffes’ nemesis, the French radical Caterine Vauban (Isabelle Huppert).
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Progonosis: Sold. Sometimes, just seeing a trailer like this re-energizes you.
With a cast, and crew, like this behind it there is no absolute way they can eff it up, right?
That’s the hope after seeing this and, one hopes, that the wheels don’t come off this H2 as it rolls down the Hollywood highway. There is a lot going for this film.
Naomi Watts is one of them.
She’s actually all of them, actually, when you see this trailer. I am reminded of a young Oliver who begged to have some more when I saw this thing again and again. To the ladies, I apologize, but feel free to wear out the bandwidth for the trailer for 13 GOING ON 30. To the dudes, this is all you. Consider it my version of equal time. I would like to point out to you as well, for reference sake, that you pay close attention to seconds 1, 8, 16 and 20. QuickTime will keep track for you.
After you’ve seen this one, and I would be remiss if I didn’t do my due diligence here, it is important to note that David O. Russell of THREE KINGS, FLIRTING WITH DISASTER and SPANKING THE MONKEY is the one responsible for directing this movie. It is also important to note, as well, that his was the co-pen that brought the script to life. Of many directors working today there are not many who can claim to have a fairly clean track record for films that never did completely suck. All of his other three movies are easily some of the best I’ve seen from a director that wasn’t a one hit wonder. With a lead time between two and five years between projects, a feat not unlike Wes Anderson, it’s good to see someone actually ruminate on a good idea for a film and let it marinate for a while before going full boar on it.
Kudos to David O. for cobbling together this trailer, a la RESIDENT EVIL and ETERNAL SUNSHINE OF A SPOTLESS MIND, by not showing the other players in this picture for public consumption. There is some heavy talent that could have easily been used in the promotion, and most likely there will be another one later that gives us the whole story, but, frankly, I could care less and am now going back to watch this thing just to make sure I didn’t miss anything.
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