This Week in DVD is a column that compiles all the latest info regarding new DVD releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s.
Please don’t take the commentary on the movies and TV shows too seriously, as they’re meant not to be reviews but rather previews that include the general thoughts and ramblings of a twice-committed DVD addict. The categories represent solely the author’s intentions towards the DVDs at hand, and are in no way meant to be a reflection on what he thinks other people should rent or buy. So if he ends up putting a movie you like in the “Skip it” section without having seen it, please keep in mind that the time you could spend leaving a spiteful but ultimately futile comment could instead be used for more pleasant things in life. Like buying DVDs.
How does this even happen? How does a movie from an Academy Award-nominated director (John Madden, of Shakespeare in Love), starring a slew of incredibly talented actors (Mickey Rourke, Diane Lane, Thomas Jane, Joseph Gordon-Levitt, Rosario Dawson), based on a book by Elmore Leonard (Get Shorty, 3:10 to Yuma, Rum Punch aka Jackie Brown), spend over three years in post-production development hell, only to be dumped to DVD after a measly 5-theater run? Surely, the only way this kind of treatment would be warranted is if the finished product somehow ended up being a colossal failure. Or so you’d think. But according to the minimal response the film has received thus far, Killshot’s biggest flaw is the obvious way it’s been torn apart by the meddling studios over the past few years, resulting in an uneven/messy narrative that remains engaging most of the way through but doesn’t quite satisfy on the whole. If you’re like me though, the curiosity factor alone is enough of a draw to justify a rental.
Notable Extras: None.
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If you were looking forward to finally seeing Fanboys on the big screen in 2008, I have some bad news for you. The Weinstein Co has moved the film back to February 6th 2009 from it’s scheduled release late next month. The film will now go head to head with Summit’s sci-fi superhero film Push, Pink Panther 2, and the Jennifer Aniston comedy He’s Just Not That Into You. But before you start writing Darth Weinstein angry letters (is anyone still that passionate about seeing the film at this point?), know that this is part of a bigger decision to push all of their releases (witht he exception of The Reader and Zack and Miri Make a Porno) back to 2009.
John Madden’s action thriller Killshot has been moved to January 23rd 2009. Sean Penn/Harrison Ford drama Crossing Over and Mikael Håfström’s Shanghai have both been pushed to a 2009 TBA slot. Harvey Weinstein assures the LA Times that the date changes has nothing to do with the speculated poor financial health of the company, but instead the changes were made because early 2009 offers a better opportunity to be seen.
Discuss: Is anyone still interested in seeing Fanboys at this point?
His recent, loud homage to Mad Max and killer viruses, Doomsday, was mostly ignored and deflated quickly at the box office, but genre director Neil Marshall is still going strong. He’s now attached to his second project of the month, an L.A.-set action mystery vehicle for Hugh Jackman at Universal entitled Drive that looks to be his next film. An adaptation of author James Sallis‘s neo-noir of the same name, Jackman will star as a Hollywood stunt driver who enjoys a double-life as a getaway man for robberies. In the book, one of the heists backfires and Jackman’s character earns a bounty on his life.
“This is something I haven’t done before, and I’ve wanted to bring a British sensibility to an L.A. shoot and a scorched classic film noir concept,” Marshall told Variety. “Hoss is a fantastic writer, and he’s written three amazing car chases in the film. He’s turned them into dramatic scenes as opposed to the usual crash, bang, wallop. I would like to be shooting it this summer.”
Last week it was announced that Marshall will also direct Sacrilege, a Western horror flick that he ambitiously described as “Unforgiven by way of H.P. Lovecraft,” with a dash of The Thing. Drive was adapted by Hossein Amini, who wrote The Golden Compass sequel The Subtle Knife as well as the long-delayed Elmore Leonard crime adaptation Killshot (um, IMDB says it’s due April ’08).
I’m curious what Marshall means by bringing a “British sensibility” to L.A. for Drive. His currently has one of the more active mid-level fanboy-centric careers in the industry right now, and it will be interesting to see if he continues to build on the promise seen with The Descent or if he goes the way of a Simon West.
Discuss: Drive or Sacrilege, which sounds cooler? If you skipped it, why did you miss Doomsday? What didn’t grab you about it? If you saw it, worth the ticket?
A couple weeks ago I had the opportunity to sit down with The Lookout stars Joseph Gordon-Levitt, Matthew Goode and writer/director Scott Frank to discuss the new film. I apologize for the unusually low quality recording, we had to make due as my professional digital recorder broke during the interview.
- Miramax’s deceptive marketing
- The story’s evolution over the last 20 years
- Scott Frank’s decision to become a director
- Joseph Gordon-Levitt’s decision to transition into dark indie films
- Matthew Goode’s decision to break out from Romantic Comedies
- Scott Frank on Quirky Character Traits For No Reason vs. Character Traits that drive the story
- Researching the characters
- Making a movie about a character with a head injury, and NOT a movie about head injuries
- The media’s obsession about “What’s Next”
- Joseph Gordon-Levitt on Stop Loss and Killshot
- Scott Frank on his upcoming projects: A western and “Fourty Four”
- Mathew Goode on Brideshead Revisited
- The Appeal of working with a First Time Director
- Rediscovering Jeff Daniels as Lewis
- Shooting in the cold Winnipeg winter
- Editing The Film
- Scott Frank’s dislike for DVD extended cuts
- Deleted Scenes
- The Surprises of a First Time Director: Compromises
The Lookout hits theaters on March 30th 2007.
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