Schwarzenegger to Make Cameo Appearance in New Stallone Movie; Old Action Rivals to Bury Freakishly Large, Bursting-Veined Hatchet

Phil Nugent — Fri, 27 Feb 2009 16:30:00 GMT

When Arnold Schwarzenegger announced that he was running for governor of California in the wake of the disappointed reaction to the third Terminator movie, a lot of people were quick to make the obvious joke that turning to politics might be a good career move for him; running a state the size of California had to be easier for a guy who was then in his mid-fifties than trying to continue holding up his end in the action-icon game. In fact, his last movie appearance before taking office was a cameo at the start of 2003's The Rundown, in which he seemed to be graciously passing the baton to Dwayne "The Rock" Johnson. The news that Schwarzenegger has agreed to do another cameo, as himself, in Sylvester Stallone's The Expendables, should probably not be taken as a sign how just bad things have gotten for those who are supposed to be holding the reins out West. The Gov contributed a cameo to the 2004 Around the World in 80 Days, directed by Frank Coraci, a movie that was seen by approximately one-hundred thousandth of the number of people who recently saw Coraci and his leading man, Steve Coogan, making cruel sport of Joaquin Phoenix and Christian Bale. And he can also be seen, briefly and as himself, in a forthcoming Indian film, Kambakkht Ishq, which has an inside-Hollywood story and includes a cameo by...Sylvester Stallone.

Personally, we applaud the Governor's efforts to help cover the school budget by taking part time jobs. It's not as if he could sign up for a shift at Mickey D's--there's no way they make those hats big enough that head. And while some might worry that a state leader should not put his dignity in peril, in Schwarzenegger's case, that ship probably sailed somewhere around the time of Hercules in New York. (When you're making your movie debut alongside Arnold Stang, and you're the one whose voice they decide to redub, dignity is not a product that you're ever going to be asked to endorse.) Still, for those of us who remember the '80s, it's a little funny to see him doing Stallone a favor, and even funnier to see Stallone asking him for one. I don't suppose they were ever Spider-man and Doc Ock in the heated-feuds department, but from at least the mid-80s, when Schwarzenegger began to overtake Stallone in the steroid-idol sweepstakes just when Sly had impressed himself mightily by proving, with the success of Rambo, that he had it in him to embody more than one franchise meathead character with a five-letter name beginning with "R", there's always been an undercurrent of competitive tension between them, made all the more savory by Stallone's spectacular job at failing to hold up his end. One critic detected a "fear of Schwarzenegger" theme running through many of Stallone's mid-80s films--not just Rambo but also Rocky IV and Cobra--in which he was roughed up but not bested by huge, muscleheaded figures who often came with scary accents. Stallone even tried to duplicate Schwarzenegger's career-expanding success in turning to comedy, but while it not for us to say that Oscar and Stop! Or My Mom Will Shoot did not compare to Twins or Kindergarten Cop in the laugh riot department, they didn't do nearly as well at the box office. But the fact remains that last year's Rambo, and its predecessor, Rocky XXXVII, did a lot better than a great many thoughtful observers--feel free to take that as a synonym for "me"--expected them to. That means that Stallone has had two geriatric hits while Arnold has been off running some dumb ol' state. If Schwarzenegger misses his old job, being on the set of The Expendables should make him feel right at home: in addition to Stallone, who's also on board as writer-director, the cast includes Dolph Lundgren, Eric Roberts, and Roberts's new P.R. man, Mickey Rourke, making the set a virtual watering hole for has-beens and comeback kids. It's been reported that Schwarzenegger has been preparing for his cameo by telling people that Stallone is "a a terrific director and writer, and a great actor." If he's really been doing that, without crossing his eyes to keep a straight face, he's both a master politician and a better actor than we remember.

Nobody Here but Us Chick Flicks

Phil Nugent — Fri, 11 Apr 2008 17:00:00 GMT

There have always been "women's pictures"--or "chick flicks", to use the self-referential, lightly mocking phrase that Tom Hanks barks out in Sleepless in Seattle as he watches his own off-screen wife, Rita Wilson, tear up while relating the plot of An Affair to Remember. The ever-evolving problem of the chick flick--what Michael Cieply calls "a label that is increasingly viewed as a marketplace trap"--is how to court women without alienating potential male viewers, a big part of your audience if you're hoping to hit date-movie gold. (You also want to hit women in their soft emotional receptors without making them feel stupid about it. Nora Ephron, who wrote and directed SIS after some fifteen years as a journalistic essayist whose specialty was finding smart ways to negotiate her own relationship to the zeitgeist, was well suited by experience and temperament to pull this off. Incidentally, filmmakers pitching their work squarely at the male demographic don't have nearly as hard a time of it. Many men do appreciate it when someone like Tarantino finds a way to serve up shootouts draped with wisecracks in a way that makes us feel smart, but that doesn't mean that a lot of us won't still clomp off to see Rambo, and have no trouble going by themselves if no dates will humor them.) Now chick movies are being wrought from "chick lit" books, a relatively new development in publishing, or maybe just a standard development with a new name. This new wrinkle has yielded such hits as Bridget Jones's Diary and The Devil Wears Prada, as well as duds such as last fall's non-starter The Nanny Diaries. That last one may have revealed something about the precarious nature of chick-flick chemistry. It starred Scarlett Johansson, who, I have reason to believe, doesn't have as many female fans as she does male admirers. And while a quick scan of the box-office returns on most of Johansson's starring vehicles begs the question of just what it is the guys would pay to see her do in a movie, I'm guessing that tucking in Paul Giamatti's kids isn't it.

Right now, two past masters of the chick flick are working on projects with roots in the genre: Ephron with Julie & Julia, starring Meryl Streep (as Julia Child) and Amy Adams, and Confessions of a Shopaholic, which is based on a book by Sophie Kinsella and is being directed by P. J. Hogan, the Australian filmmaker who made the Julia Roberts hit My Best Friend's Wedding. As Cieply observes, part of the fun of talking to the people whose beach houses are riding on the fate of these movies is watching them try to avoid being pigeonholed in the chick-flick ghetto. Jerry Bruckheimer, who is one of the producers working on Shopaholic, actually had the brass to liken it to "another Wedding Crashers," which, given the source material, is kind of like saying that, with enough slow-motion in the action scenes, the next Harry Potter film will be hard to tell apart from Bring Me the Head of Alfredo Garcia. (As for the Julia Child movie, one of its [male] producers will only say, "We hope this will be a movie for everyone who likes eating.") In the end, writes Cieply, "Trying to pin down what, exactly, constitutes a supposed chick flick is more of a parlor game than a science. An Affair to Remember, in which Cary Grant and Deborah Kerr played star-crossed lovers, clearly makes the cut. Knocked Up, in which Ms. Heigl and Seth Rogen played a star-crossed couple of another sort, probably does not."

The Screengrab : rambobo

Schwarzenegger to Make Cameo Appearance in New Stallone Movie; Old Action Rivals to Bury Freakishly Large, Bursting-Veined Hatchet

Nobody Here but Us Chick Flicks