Can't Stand the Heat? Get Out of the Summer Movie Business

From Memorial Day to Labor Day, it seems like every time you turn around, the next big action blockbuster is being released. The movie business is experiencing a surprisingly upward trend in the months of January and February. With huge releases coming within the next few months, including the Transformers sequel, G.I. Joe and Star Trek re-imaginings and the X-Men prequel, movie goers have proved they are ready to shell out some cash. The only problem is, when there is a historic movie event every week, which films will be the ones to suffer? Is it possible movie studios are investing billions in movies that will get lost in the shuffle. Promotion is starting earlier and earlier each year, with some of '09 releases already previewing some scene at the '08 Comic Con festival.

This year, two of Hollywood's most famous actors, and most bankable stars, have teamed with visionary directors in an attempt to steal the spotlight with unconventional blockbusters. Johnny Depp teams with Michael Mann (The Insider, Miami Vice, Ali, Heat) in Public Enemies to portray the Prohibition Era gangster John Dillinger, in what you can see in the trailer, is a slick action drama that captures the intrigue and air of mystery associated with the 1920s. The trailer makes the film seem like a lot of fun, with shoot outs and car chases for the guys, and lots of seductive Depp quips for the girls. Based on only 2 minutes, I wouldn't be surprised if this was the box office champ come end of the Fourth of July weekend.

http://www.imdb.com/video/imdb/vi3372221209/ Public Enemies

One thing you have to know about Quentin Tarantino is he doesn't like to give too much of the movie away in the trailer. Hopefully, this is the case with Inglourious Bastards, his decade long pet project which stars Brad Pitt as a World War II soldier who leads a group of assassins through France with the mission of killing 100 Nazis each. Tarantino specializes in finding comedy in dark situation, without making his films a "black comedy." There's nothing comical about World War II as an event, but the trailer plays with a figurative wink to the audience. Tarantino has control of everything on his films, so the trailer was if not put together personally by him, was at least approved by him. He's like one of those mad scientist who have the ability to produce something brilliant, but when you look at how it's made, you think it will never work. Hopefully the trailer serves as a tease, and the real film lives up to the hype. In other words, think more Pulp Fiction and less Death Proof.

http://www.imdb.com/video/imdb/vi1210843929/ Inglourious Bastards

Review: I Love You, Man

It was pretty funny. It's about a guy, Paul Rudd, who is getting married and realizes he doesn't have a close friend to be his best man. After a series of "man-dates" set up by his family, he meets a free spirited party guy, Jason Segel, who brings chaos to his organized life.

The story was really tight, and the script didn't need to employ cheap plot points just to cause tension. Paul Rudd proves he can carry a film, playing Peter, the slightly effeminate, socially awkward real estate salesman in search of a friend. The relationship between Peter and Zooey was genuine. More importantly, the Zooey character, played by Rashida Jones, was not only rounded, but not portrayed as the "bad guy." Jason Segel plays against type, and shows a different side of his comedic skills, adding a very mellow tone to the character of Sidney. The other supporting players only helped add to the character of the film, including Jaime Pressly and Jon Favreau as "that couple" who are always screaming at each other, and Andy Samberg as Rudd's straight men hunting gay brother. The only thing that could hurt the film is if people didn't realize they are taking the romantic comedy formula and switching the best friend and girlfriend role. If you don't embrace the concept right from the beginning, you might find it bizarre. It would be hard not to notice this, especially when Peter and Sidney embrace in front of a fountain, but I could see it actually getting lost on some.

This bro-mantic comedy has a great script with a big heart, and just enough laughs to keep us engaged all the way through. While the jokes don't seem to flow as freely, or as cleverly as some of this duo's past films, the film is well worth seeing with a friend or date.

American Idol Re-Vamp

Kara Dioguardi has been the topic of mixed reviews in discussion of the changes to America's most watched show. Some like her specific and surprisingly helpful advice, while others feel she is trying to be the female Simon, but comes off bitchy. It is in human nature to reject change, especially of something many people make the staple of their work week. The change comes not because the ratings are bad, but because the producers felt the show could be getting repetitive. They throw in this chick, who is younger and better looking than Paula, in the hopes of either a cat fight or a blow out with Simon. The producers lie through their teeth when they say they thought Kara would have an easy transition to the judges table. A quiet transition would be the worst thing that could happen. Sell some tabloids, create some buzz, get people more interested in the show - that was the point of adding the new judge. Also, rumor has it Paula is not looking to renew her contract at the end of the season, and if nothing else, the addition of Kara will help keep Paula's hefty salary from increasing too much in case she wants to come back. If she doesn't, America will already be used to Kara, so the absence of Paula will not be a shock.

As far as the other changes, like America voting in the top 12 instead of voting out the top 24, it really does make it hard on the contestants, but it also adds to the drama. True, the selection might have been same no matter what, but I suspect the grouping was done with the intent to get a diverse cast. It's about time the producers start admitting they try and manipulate the voting. The judge's choice stipulation not only adds to the emotion of elimination night, but ensures the producers won't have to lose a key player early. It's too early to tell whether the addition of the judges choice will be beneficial or not, but as long as Simon gets a say, I can't imagine them squandering it on someone who doesn't deserve it.

The contestants this year are full of talent but lacking impact. First off, there are way to many guys and not enough girls. I'm already confused between Matt and Kris and Tom and God knows who else, and with the way the voting is going, it might be eight guys left and no girls. The only eye candy on the show Megan Joy, who oozes sexuality despite her hippie dancing and obnoxiously huge tats ... tattoos that is. So far the stand out has to be Adam Lambert, the not-so closeted punk rocker who despite anything that has been said, makes a lasting impression. The widower Danny can really sing, but he could suffer a backlash due to how heavily they played up his wife's death. Ditto with Scott, the blind contestant who can belt one out, but unfortunately makes me tense any time he is on screen. I'm waiting for Seacrest to try and high five him again, or for someone to forget to grab him during the group song and he takes a header off the side of the stage.

Yes, the show was getting stale, and yes the re-vamp has made it more interesting. If that was the only goal, mission accomplished.

Mailbag Questions

It is time to dip into the ole mailbag again and see what is on the reader's mind lately.

"How do you think Jimmy Fallon is doing in his new position on Late Night? Is he benefiting from having Leno as his lead-in instead of Conan?"

I saw a half of an episode on NBC, two other clips online. To be honest, I wasn't impressed. I didn't expect Fallon to come out and put on the "wet your pants" show of the year, but I thought his first couple of nights would have more energy. After all, he's been preparing for his for like three years. I thought he was trying to do a show that was so loose and natural that the comedy came second hand, but instead it made him look lazy because none of bits really worked. I do think Jimmy is really talented, I think this is a case of him not finding what works for him on his show. All his predecessors went through the same process. Comedy talk shows have luxuries episodic television shows don't. With five episodes a week, forty plus weeks a year, the trial and error process is instantaneous. Plus there aren't as many other talk shows to take your place. With episodic television, they get one episode a week to make really good, and if the audience doesn't like it, your usually shooting at least three or four episodes ahead of the airing, so to go back and get your show on the right path is impossible. On talk shows, if a show doesn't work, the next night you try something else that might. Both Conan O'Brien and Jimmy Kimmel build strong fan bases by word of mouth after the first few years. Remember the "Triumph the Insult Comic Dog" phenomenon from Conan or the "I'm Fucking Matt Damon" song from Kimmel. That's the edgy, outside the box stuff Fallon should attempt, but in his own voice. He's younger than all of them so he should at least try to be as cool.

"Has the success of Witch Mountain ensured the Rock will never come back to wrestling?"

I never like to say never, but I don't think the success of Witch Mountain is only reason The Rock won't wrestle again. It is possible he would do a match or two in the future, but he'll never go back full time. In fact, I think there is a better chance The Rock would come back after the success of a movie, as opposed to it bombing. It's the same reason rich people like to go to their high school reunion. They like to brag about how well they've done since they left. If The Rock couldn't get another acting job to save his life, his return to wrestling would seem like a last resort and put a sour taste in every one's mouth.

"Is U2 over-promoting their new album?"

There's a difference between over-promoting and over-hyping. U2 might be over-promoting, but it's not a bad thing. They are getting their name out there again, appearing on every television show from Late Show with David Letterman to the Homeroom Show at the Sioux City Iowa High School. All they are saying is, "hey we have a new CD out." Over-hyping is like when Kanye West told everyone listening to his CD will give you the answer to the meaning of life.

Judd Apatow: Comedy's Spieberg?

At age 41, Judd Apatow is Hollywood's fastest rising star. Forget he started his career almost twenty years ago, the guy has the golden touch. He penned episodes of television's critically acclaimed comedies like Freaks and Geeks, The Larry Sanders Show and The Critic, but his real success didn't come until The Forty Year Old Virgin in 2005. What seemed like another sleazy teen movie flourished with word of mouth, and the became the sensation of late summer. The marketing campaign behind the film helped, but usually what happens is the people who run to see the movie on the opening weekend tell their friends the movie didn't live up to the hype. With witty and brutally honest dialogue seemingly taken from real life, and endearing characters like only Apatow can create, the small teen comedy got a good reviews from the people who count ... the movie going public. Soon the film became the "must see" movie and Apatow's career has not looked back since. You can almost tell a Judd Apatow movie right away by the distinct realism, natural feel and snarky banter whipping around the screen. With hits like Knocked Up and Super Bad gaining huge momentum, Apatow has become the most desired director in Hollywood. Just having his name attached to a project helps. He only produced Forgetting Sarah Marshall, yet the entire mood of the film has Apatow written all over it. In fact, he doesn't even need to be in a movie to help sell it. Paul Rudd and Jason Segel have worked with Judd so often, most people think I Love You, Man is the latest installment of the Apatow Collection. Even though his name is not in the credits, the leader of the self proclaimed "Jewish Rat Pack" undoubtedly ushered in the style of he film. So is Apatow comedy's version of Spielberg. He's on the right track but he has still yet to turn out his version of Schindler's List. And by that I mean his career defying movie, not a teen comedy based on Osker Schinder.

There is No Such Thing As Bad Publicity

The reports of the arrest of Chris Brown for his alleged abuse of girlfriend Rihanna have been swarming around the globe for the past three weeks. In those three weeks, Chris Brown did something he was unable to do before. He got himself name recognition. Only R&B music fans, mostly younger at that, really knew who he was. The general public might have known a song or two, but didn't know who sung it. Now, the biggest entertainment saga of 2009 has the entire world talking about the singer's heinous actions. The question on every one's mind is 'will he be able to return to the level of popularity he was at before?' The answer is a simple "no." He will be bigger. If Brown's publicists even spent a day in a public relations class, Brown will be interviewed by Barbara Walter or Katie Couric, or someone who will pretend to ask tough questions, but will really be lobbing softballs. A tearful heartfelt apology will be almost a given, and he might even get Rihanna to sit there with him. The most outrageous part of the whole situation is that if Rihanna continues to stay with Brown, he will be off the hook because all the women in the world will say "oh well, then she's just stupid to stay with him."

The music business has taken such a drastic turn in the past decade that it is becoming increasingly harder for musicians to form their own identity. With CDs almost non-existent, and any smuck with a halfway decent voice getting a record contract, the really talented people are finding it harder and harder to separate themselves from the pack. The truth is that for R&B singers, if something huge does not happen in your career, you become irrelevant. I am by no means accusing Chris Brown of beating Rihanna to get publicity, but his recent actions do not seem as damning as everyone would have you believe. America loves a comeback, and is quick to forgive. Michael Jackson almost threw his baby over a balcony and could not be more popular. 50 Cent's nine bullet wounds gave him enough street-cred to land "In Da Club" the coveted spot of Billboard's top song of 2003. Mariah Carey had a meltdown that made Three Mile Island look like a faulty circuit breaker, and she came back with her most profitable single ever. The point is, without a story, a gimmick or scandal, musicians will be merely lost in the shuffle. So for Chris Brown, his fans might not have come back yet, but don't worry, they are on their way.

Television Progress Report

February sweeps have just ended, leaving the shows on the 08-09 schedule one last stretch before they call it quits for the summer. Some have shown drastic improvements, while others have buckled under the pressure of living up to their hype. Here's a quick look at how some shows can expect to end the season.

Passing With Flying Colors:

Brothers & Sisters: The ensemble is meshing really well and the stakes are higher than ever. Each subplot is complex and touching, leaving the Walker house a great place to spend Sunday nights.

Big Love: The third season of the HBO polygamy drama has built on the momentum established by the first two proving, this show only gets better with time. The trial of the Prophet, the contemplation of a fourth wife and internal family angst makes Big Love one of the most addictive shows on television.

Lost: Despite the detractors who say the time travel is too confusing, it doesn't matter where they are going, just enjoy the breath taking ride.

Damages: FX's masterfully crafted legal drama reveals one more piece of the puzzle every week, guaranteeing one huge payoff when we finally find out what happens inside Ellen's apartment.

The Office: Coming off a huge post Superbowl episode, the relief that Jim and Pam's relationship hasn't ruined the show, and Michael's undying need for companionship makes the show as funny and squeamish as ever. You know a show is good when you are embarrassed for someone in the privacy of your own home. Even the expansion of the Dwight character is working out nicely.

Average

30 Rock: Winning a handful of Emmy, Golden Globe and SAG awards puts the heat on this critical darling. The episodes have been consistent but have yet to produce that "must see" episode like last year's "Rosemary's Baby"

House: Everyone's favorite cynical doctor had his best season ever last year with the season long selection of a new team and a dramatic bus accident that killed a main character. However, the gimmicks like hostages and teasing a kiss between House and Cuddy have made the show more about spectacle than medical which is not always a good thing.

Nip/Tuck: The promos always taut that Nip/Tuck is television's most provocative drama. This season, the show remains provocative but not in a silly way. Christian with breast caner, baby botox and Liz's confusion about her sexuality give this season credit but doesn't boast it to the brilliance it had during seasons 1 and 2.

In Danger of Failing

Twenty Four: Jack Bauer saving the world can, and has been done in a novel way. The addition of a love interest and a female President have not been enough to make this day intriguing or intense.

Heroes: Every comic book geek's dream involves redemption for this sci-fi favorite, but after a season and half of struggling, it seems the only savior of this series will a total reinvention.

Grey's Anatomy: The hospital is cluttered with open ended story lines and characters we don't care about. There are as many guest stars each week as regular stars and rumor has it Meredeth is getting another half sister. Too much. Way too much.