The Screengrab : harold ramis

Screengrab Predicts: The Top 5 Bombs of Summer 2009 (Part Three)

Andrew Osborne — Thu, 23 Apr 2009 22:00:00 GMT

And now, the bombs...though, to be honest, with no Love Guru or Speed Racer in the running, this category (with one consensus exception) is a lot more of an open race for Summer 2009, with ties in the 4th and 5th place spots pretty much decided by coin-toss...well, it was a little more scientific than that, but not by much...

5. YEAR ONE (June 19)

Nick:
Barring The Flintstones suddenly becoming fashionable again, Harold Ramis’ caveman comedy starring Jack Black and Michael Cera will sink like a stone.

Scott:
Maybe this has one good weekend in it, but I’m not seeing a lot of staying power here. If you check your list of successful cavemen comedies, I think you’ll find it’s a bit shorter than you remember.

Andrew:
Oh, I dunno...I remember at least one really good gag in Ringo Starr’s Caveman, and I expect Year One to at least double that batting average...which might be just enough to get me into an air-conditioned theater on some muggy June afternoon. Not exactly a ringing endorsement, true...

4. IMAGINE THAT (June 12)

Scott:
Imagine what? Another toothless “family-friendly” Eddie Murphy comedy larded with sugary sweet life lessons? All too easy to imagine.

Paul:
Dear Eddie Murphy,

It’s been a decade since Bowfinger. Ever since then you’ve made lousy action comedies, lousy family comedies, and computer-animated comedies in which you provide the voice of a talking donkey. Pleasepleaseplease be funny again, both for your own sake and the sake of those who remember when you could still make people laugh. Thank you.

Sincerely,
The Screengrab

Andrew:
Okay, you guys convinced me...I kinda wish I’d put this on my own list of “bombs” now...but I put Transformers in its place on my list instead out of sheer malice.

3. X-MEN ORIGINS: WOLVERINE (May 1)

Nick:
Each X-Men film has made more than its predecessor, and this prequel cost more to make than any prior series entry. The Internet leak won’t affect its business, but Star Trek – opening one week after it – will, causing Wolverine to make less than X-Men: The Last Stand and thus be viewed as a modest failure.

Andrew:
For what it’s worth, I’ve seen and dug all the other X-Men flicks, and for some reason I could give a wet fart about this one, which looks to me like the bad Halle Berry Catwoman of the series. Now maybe if there were some musical numbers...

2. THE TAKING OF PELHAM 123 (June 12)

Nick:
With little action-thriller opposition around its June 12th release date, Tony Scott’s remake may open reasonably well. Yet given how blah it looks and how little buzz it’s attracting, it should quickly disappear from the nation’s overcrowded multiplexes.

Scott:
Speaking of ruining the ’70s (see below)...a gritty, grimy little New Yawk thriller with Walter Matthau at his hangdog finest is given the Tony Scott treatment. It looks as though puffy John Travolta and his wacky facial hair have already chewed some of the scenery, but expect him to devour the rest of it when this one hits theaters in June.

1. LAND OF THE LOST (June 5)

Scott:
I have an idea. Let’s completely ruin the ’70s for those of us who spent our childhoods there! Oh wait, we’ve already done that, haven’t we? Then what the hell, we might as well turn a quirky, beloved Saturday morning staple into another crappy Will Ferrell comedy with plenty of dopey sight gags and gobs of CGI effects.

Nick:
Will Ferrell and Danny McBride are inspired comedians, but Brad Silberling’s update of the 1970s TV show seems like the latest action-comedy hybrid destined to be neither exciting nor amusing. Expect a big-time bomb.

Paul:
Who is this movie for, exactly? Will Ferrell isn’t the box-office juggernaut he once was, and the ticket buyers who yearn for him to deliver Ron Burgundy-style laughs probably won’t go for the second-rate Jurassic Park-style dinosaur storyline. Meanwhile, the kids will probably be too busy watching Up and Night at the Museum 2 to care about this one. Does the original series have that many fans clamoring for a big-budget version of the story? I highly doubt it.

Andrew:
I have to say I actually feel bad about Land of the Lost winding up as our runaway number one consensus pick for top bomb of the summer, since I’m a fan of the original TV series and I have every intention of going to see the Will Ferrell version...and yet, my colleagues all make excellent points, plus the promotional stuff has a distinctly low-rent, Brendan Fraseresque feel to it...on the other hand, I wouldn’t be completely surprised if this one bites us on the ass, prediction-wise, and turns into a surprise hit...oh, wait, the budget was $100 million? Uh...never mind.

Click Here For The Hits (Parts One & Two), The Toss-Ups (Part Four) and The Honorable Mentions (Parts Five & Six)

Contributors: Andrew Osborne, Nick Schager, Scott Von Doviak, Paul Clark

The Letdowns: Ghostbusters II (1989)

Nick Schager — Tue, 07 Apr 2009 15:00:00 GMT

In this recurring column, we revisit (and reconsider) eagerly anticipated films that didn’t seem to fulfill their pre-release promise.

It says something about Ghostbusters’ enduring popularity that, twenty-five years after its proton pack-wielding foursome first rid Manhattan of evil specters, news of a forthcoming video game and potential third cinematic installment – both of which plan to bring back most of the original cast – elicits near-breathless excitement. And yet the franchise’s twenty-year idleness since Ghostbusters II also speaks volumes about that 1989 sequel, which effectively slimed everyone’s fond memories of the original. Reuniting Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, Sigourney Weaver, Rick Moranis and Annie Potts for another supernatural go-round, Ivan Reitman’s follow-up (co-written, as before, by Ramis and Aykroyd) seemed to have all the requisite pieces in place for another blockbuster, including a bigger budget that afforded all manner of special effects. Yet nearly two decades after it first disappointed fans, the film remains a lumpy mishmash of regurgitated elements and creatures, carelessly tossed-off one-liners and wannabe catchphrases (“Two in the box, ready to go, we be fast, and they be slow!”), and a plot made up of one good idea and many, many lousy ones.

Five years after they defeated Gozer and the Stay Puft Marshmallow Man, the Ghostbusters’ business has been disbanded by lawsuits and court orders, and Peter Venkman (Murray) has broken up with Dana (Weaver) – who, busy bee that she is, rebounded by getting married, having a baby boy named Oscar, and getting divorced. When Oscar’s baby carriage mysteriously speeds down the sidewalk and into traffic, she turns to her old friends, who discover that a river of slime is running beneath the city’s streets, and in the direction of the art museum where Dana works and an enormous, cartoonishly spooky painting of a 16th-century despot named Vigo resides. Ghostbusters II’s sole clever idea is to make the metropolis’ slime a manifestation of New Yorkers’ unpleasantness. It’s a bit of tongue-in-cheek mockery of the city’s notorious reputation that might have proved fruitful if the story wasn’t such a slapdash mess, lurching from a pitiful construction-worker bit (replete with Murray, Aykroyd and Ramis affecting overripe New Yawk accents), to a courtroom scene in which the goo goes nuclear once a judge screams that the Ghostbusters should “burn in hell,” to an FX-heavy finale that finds a way to make the appearance of the Titanic, a walking Statue of Liberty and the resurrected Vigo seem equally underwhelming.

Throughout, there’s the familiar-to-sequels impression that the filmmakers are merely trying to rehash what viewers liked about the first installment, including the Ghostbusters’ conflict with City Hall, a short, strange weirdo who gets possessed by the main villain (in this case, Peter MacNicol’s insufferable art restoration chief Janosz), and a cruddy, upfront soundtrack that desperately wants to make the same impact as its predecessor. This last issue is made even lamer by Reitman not only using Bobby Brown’s “On Our Own” at least three times during the film (including over the final credits), but actually providing the former New Edition singer with a cameo that, within the context of the action at hand, makes absolutely no sense. Then again, very little of Ghostbusters II seems guided by clear thinking, whether it’s the fact that – after getting clearance to resume business – the Ghostbusters’ uniforms feature the new spook-with-two-fingers logo (what, they know they’re in a sequel?), or the climactic shot of a painting that envisions the Ghostbusters as classical champions rather than the pitiable faded heroes this second saga turned them into.

Trailer Review: Year One

Paul Clark — Fri, 03 Apr 2009 16:00:00 GMT

In the history of comedy, few subgenres have been so consistently dire as the caveman laffer. Yet it must be said that, of all the actors in Hollywood, perhaps none is better suited to top-line a new stab at the caveman comedy than Jack Black- although it must be said that Michael Shannon bears a certain resemblance to Eegah! star Richard Kiel. Black’s outsize personality lends itself nicely to the prehistoric setting, but the actor who makes Year One look at least a little promising isn’t Black but costar Michael Cera, who doesn’t exactly look to be stretching himself here (that’ll have to wait, I guess), but whose boyish reluctance ought to provide a nice contrast to Black. Come to think, I sort of wish director Harold Ramis could have made the rest of his characters more boorishly Cro-Magnon, rather than casting the story with bearded veterans of Mr. Show and the Judd Apatow touring company. Still, if it’s at least as good as Caveman- a guilty pleasure of mine- this’ll be better than most movies of the kind. Zug zug!

Take Five: Road Trip

Leonard Pierce — Fri, 26 Sep 2008 20:15:00 GMT

Opening this Friday, Neil Burger's The Lucky Ones is a bit of a gamble as a follow-up to The Illusionist. Following the plight of three soldiers recently returned from Iraq (played by Tim Robbins, Michael Pena and Rachel McAdams), it quickly turns into a sort of social statement-cum-sign o' the times story as they find themselves on a road trip together across the country. It's hard to predict how The Lucky Ones will be received; Iraq movies are always a crapshoot, and the movie's curious blend of comedy and drama may not fit in with the subject matter. But it's always fun to see a new road movie, especially this late in the year when the possibility taking real-world road trips becomes more and more daunting. Road pictures have a long and storied history in Hollywood, and filmmakers have managed to fold everything from bone-chilling noir to high-concept comedy to existential drama into the format. America is especially adept at making road pictures, not only because of the grand canvas that is the national geography, but because of our total immersion in car culture. Here's five of our favorites.

DETOUR (1945)

Film noir, despite its association with the urban environment, was never afraid to take its show on the road as long as there was a nice juicy crime at the center of the story, and Detour serves up a doozy. A grade-z Poverty Row picture made for the cost of Clark Gable's lunch, Detour nonetheless proved to be one of the most effective noir films of its day, thanks to its relentless, grubby energy. Tom Neal, who starts the picture looking like he's had his insides scooped out and just gets worse from there, plays a sad-sack piano player who just wants to get to the west coast so he can be united with his former flame. But along the way he gets framed for murder after running afoul of Ann Savage in one of the most terrifying femme fatale roles of all time. A terrific, unsparingly bleak little film that proves a little can go a long way.

ROAD TO UTOPIA (1946)

The term "road picture" was more or less invented to describe the handful of movies made in the 1940s to showcase the comedic talents of the Bob Hope/Bing Crosby team. The movies, which always featured the boys making an arduous comic trek to some picaresque location, were of varied quality, but were alway huge moneymakers. The last of these was the best; it featured Hope and Crosby (accompanied, as always, by Dorothy Lamour) as turn-of-the-century con artists heading to Alaska to strike gold. That was just the set-up, though, for one of the most anarchic comedies of the decade; scanning more like a Marx Brothers movie, Road to Utopia featured in-jokes, metahumor, wordplay, surreal gags, and even some inexplicable albeit hilarious voice-overs by master humorist Robert Benchley.

TWO LANE BLACKTOP (1971)

A beloved film among your loyal Screengrab scribes, Monte Hellman's throat-clutching existential race movie Two Lane Blacktop opened to great praise and almost as quickly faded out of existence. It's not hard to see why: for all its greatness, it's a remarkably strange little flick, curiously aimless despite its implacable velocity, with characters who are little more than cyphers, as much as they intrigue us. Two of its 'stars', James Taylor and Dennis Wilson, basically never acted again, and Warren Oates turns in a performance -- as the impenetrable, self-inventing G.T.O., named after his car -- that's bizarre even weighed against his filmography. Still, it's probably the pinnacle of the road movie as metaphor for existence, and once seen, it's never forgotten. A real underground classic that's finally gotten its due.

NATIONAL LAMPOON'S VACATION (1983)

Nowadays, the presence of the National Lampoon imprint is practically a guarantee that a movie is going to be a colossal pile of shit. There are those of us old enough to remember how lucky we were back in the days when only the next installment of the venerable National Lampoon's Vacation franchise was going to be a piece of shit, but even for us old cranks, it does us good to remember that the original was actually a pretty solid ensemble comedy. Directed by a still-fresh Harold Ramis, written by John Hughes (who adapted his own story, with surprisingly few changes, from the old NatLamp magazine), and starring Chevy Chase when "starring Chevy Chase" was a preferable alternative to suicide, Vacation has held up surprisingly well, both on its own merits and as, essentially, the blueprint for every road comedy since.

BROKEN FLOWERS (2005)

Even for fans of Jim Jarmusch -- a group of which I am a proud member -- there was a lot not to like about Broken Flowers. Though the music, by Ethiopian jazzman Mulatu Astaque, was fantastic, it felt like it was driving the aimless plot, and the hip-music-plays-as-America-flashes-on-the-windshield device was getting a bit tired. Bill Murray's aging sad sack character was becoming less of a revelation and more of a routine. The incomprehensible ethnic as source of boundless wisdom device was wearing thin. All in all, parts of Broken Flowers played like a pardoy of Jarmusch rather than the real thing. But the parts that worked, including some stunning acting by the movie's female leads and the whole road-trip-to-nowhere angle which Jarmusch has done so well before, remind you why you put up with the parts that don't.

Related Posts:

Take Five: Taxi!

Take Five: Ride Hard

Morning Deal Report: Calling All Ghostbusters

Scott Von Doviak — Mon, 08 Sep 2008 14:30:00 GMT

Summer is definitely over as far as the weekend box office is concerned. When the top movie of the week is Nicolas Cage in Bangkok Dangerous, you know things are a little slow. Taking in only $7.8 million was still good enough for first place, as Tropic Thunder fell to second with $7.5 million. The total weekend gross is expected to be around $66 million, which is what The Dark Knight was taking in at lunch hour just a few weeks ago.

Who ya gonna call? Well, if Ghostbusters is the answer, I’m not sure I even want to know the question. But Variety reports that Columbia Pictures is serious about rounding up the old gang for another round of spook hunting. “The studio has set The Office co-exec producers Lee Eisenberg and Gene Stupnitsky to write a script for a film designed to bring back together the original cast of Harold Ramis, Bill Murray, Dan Aykroyd and Ernie Hudson…The scribes just wrote Year One, a comedy that was directed by Ramis.” I can see Bill Murray being hard up for cash given the news of his divorce but, really, do they expect to be able to lure Ernie Hudson back?

Ed Norton, Susan Sarandon and Richard Dreyfus will star in Leaves of Grass. It’s not an adaptation of the Walt Whitman poetry collection, but rather “a comedic thriller actor-turned-filmmaker Tim Blake Nelson wrote and is directing.” Per The Hollywood Reporter, “Norton is portraying twin brothers, one an Ivy League philosophy professor, the other a small-time and brilliant marijuana grower. The professor is lured back to his Oklahoma hometown for a doomed scheme against a local drug lord (Dreyfuss) that unravels his life.”

Related:
Trailer Review: Bangkok Dangerous
Ghostbusters III, Sort Of

Richard Roeper to Grant Wishes of Millions of Cinephiles

Leonard Pierce — Tue, 22 Jul 2008 18:45:00 GMT

In how-can-we-miss-you-if-you-won'-go-away news, At the Movies co-host Richard Roeper has announced that this month will be his last on the popular movie review program. Unfortunately for those who have been wishing he would stop reviewing movies since he first started doing it in 2000, he will not be quitting film criticism altogether, but rather starting his own show as parent company Disney turns At the Movies into a new magazine-format entertainment-based talk show. "Over the last two seasons," Roeper said, "as (co-host) Roger (Ebert) has bravely coped with his medical issues, I've continued the show with a number of guest co-hosts, such as Jay Leno, Harold Ramis and John Mellencamp," all of whom share with Roeper the fact that they are not actually movie critics.

Although it's a classy way to go out -- giving his legendary senior partner props and making it look like he just wants to stay true to his calling rather than that Disney just wouldn't give him the money he thought he was worth -- Roeper's departure only highlights his widely criticized role in the ever-crumbling world of film criticism. Brought in to replace the beloved critic Gene Siskel after his death, the lean, jocular Roeper -- who owes his entire career as a movie writer to the fact that he happened to sit near Roger Ebert in the Chicago Sun-Times offices -- has often been excoriated for his hard-to-defend choices, aversion to anything but standard Hollywood fare, and genuine lack of knowledge about the movie industry in general, which could generously be interpreted as populism but which often came across as plain old ignorance. While there's many reasons to defend him -- he's genuinely enthusiastic about his job, he's an able and engaging political and cultural critic, and best of all, he's a White Sox fan -- as a movie critic, he's entirely too wrapped up in the polite and popular, and his reign on At the Movies has coincided with a general decline in the business of film criticism. He may just be a symbol of what's wrong with the vocation, but as symbols go, he'll do until the real thing gets here.

In Other Blogs: Critical Condition

George Miller: The Furious Multimedia Road

John Constantine — Thu, 13 Mar 2008 21:54:00 GMT

Saying that 2008 is an interesting time for visual media is an understatement. As an art form, filmmaking has never been more accessible. Making a movie is cheap and distribution is only a Youtube account away. It’s interesting then to watch the growing trend of successful theatrical filmmakers looking to other mediums, specifically video games, as a new avenue of not just business but expression. Peter Jackson’s working on multiple projects within Microsoft’s omnipresent Halo franchise, Steven Spielberg’s developing three separate games for Electronic Arts (the first of which, Boom Blox for the Wii, you can check out here), and Dan Ackroyd and Harold Ramis have beaten the ravages of aging by turning to games for a third Ghostbusters. Now George Miller, of Mad Max and Babe fame, is getting in on the action. In a series of exclusive interviews with N’Gai Croal (arguably the most important voice in games journalism and who also happens to be a filmmaker himself), Miller announced that he’s collaborating with game developer Cory Barlog on a number of new projects, the first of which being a Mad Max game that will be created alongside the long in development Mad Max: Fury Road. Barlog is most famous for his work on the God of War series that, while different in subject, has quite a bit in common thematically with Mad Max. Miller and Barlog will be working together on both film and game, utilizing the same cast for both.

What’s fascinating about this partnership is not just Miller’s interest in games as a narrative medium offering opportunities beyond film’s natural constraints but that he’s sought out a singular auteur to work with. Modern game development, as Croal discusses with both Barlog and Miller, is not unlike Hollywood sixty years ago: directors are traditionally studio employees and not independent artists for hire. This collaboration is an exciting moment for film and game alike. Plus new Mad Max! GIBSONLESS MAD MAX!

What's A Game Without Winners?

Leonard Pierce — Tue, 15 Jan 2008 20:45:00 GMT

It's no secret in the entertainment industry that video games see themselves increasingly as competition for movies — and so does everyone else. They're beginning to get big-name casts like movies; they have big budgets, heavy roll-out dates, and a rigorous seasonal competition like movies; and as storytelling becomes more immersive and graphics become more realistic, they begin to resemble the moviegoing experience more and more — only when you play a game, you're in the movie in a way you can't be with an actual movie.

Beyond that, video games are starting to make money like movies — or even better. With less overhead cost, fewer production headaches, and no filming locations, a video game costs less to make; the industry hasn't yet been crippled by high-cost front-loaded deals for big-name actors and directors; and a very successful video game rollout can produce as much revenue or more than a blockbuster film. It's no surprise that, after years of dithering about whether or not to make a third Ghostbusters movie, Dan Aykroyd and Harold Ramis decided that the third installment of the franchise would in fact be in video game form: it would be cheaper to make, they noted, and allow them a lot more freedom for character development and a longer, funner script while at the same time making the fancy special effects magic better and cheaper.

All that the industry is really lacking is a high-profile awards show — and that's about to change. For the first time ever, the Writer's Guild of America is announcing nominations for its first-ever award for outstanding acheivement in video game writing. The nominees include TV and film writing vets like Matt Selman & Tim Long for The Simpsons Game; Sebastian Stepin for the creepy horror game The Witching; and Ed Zuckerman and Christofer Emgard for the alternate-history combat thriller World in Conflict. It's a major step forward for the legitimacy of an entertainment medium that becomes increasingly sophisticated every year but rarely gets credit for the quality of its writing.

There's only one small hiccup: thanks to the WGA strike, the awards ceremony for the video game prize is likely to be cancelled in its first year.

Slate's New Holiday Classics

Peter Smith — Mon, 17 Dec 2007 19:00:00 GMT

Slate's writers offer a long and timely selection of "overlooked Christmas movies", including Yogi's First Christmas ("A surprisingly touching ode to ursine innocence"), Silent Night Deadly Night 3: Better Watch Out!, Harold Ramis's venture into hard-boiled nihilism The Ice Harvest, and Abel Ferrara's beyond-belief 'R Xmas (in which a crooked undercover cop played by Ice-T intereferes with a young drug-dealing couple's feverish attempt to obtain a much-desired "Party Girl" doll for their daughter's Christmas stocking). At this point, alert ScreenGrab readers may have noticed a family resemblance to our own beloved "New Holiday Classics" feature, except that most of the movies in Slate's round-up are a lot more fun to write about than they are to watch. But Timothy Noah is to be saluted for mentioning the best Christmas morning scene ever caught on film: the one in The Thin Man where Nick Charles (William Powell), lounging in his PJ's, shoots the ornaments off the tree with the handy little air-pistol that Santa brought him. (Not coal? Santa must have a lax policy towards creeping alcoholism.) That movie also has what may be the best Christmas party scene on film, with all the guys Nick once put in the joint streaming into the Charles's hotel room to show there's no hard feelings. The biggest, plug-ugliest one of all is found drunkenly sobbing because "I want to call my Ma and wish her a happy Christmas." "Well, why don't you?" asks Nick. "I. . . I haven't got a dime." — Phil Nugent

Morning Deal Report: Ghostbusters III, Sort Of

Peter Smith — Thu, 15 Nov 2007 16:00:00 GMT

Dan Aykroyd and Harold Ramis are writing a Ghostsbusters videogame, and Bill Murray and Ernie Hudson are on board. It's not Ghostsbusters III, but it's something.

John C. Reilly will play a vampire.

As you may have heard, the ever-entertaining Sylvester Stallone has been working on an Edgar Allen Poe biopic. Now rumor suggests Viggo Mortensen may star.

— Peter Smith