Do conservative movies make more money?
MoviesThe Hollywood Reporter finds a study showing that the do (discussion available here).
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this invasion of the privacy of an 86-year-old-widow is truly shocking.
It reveals the most powerful woman the West has ever known as frail, feeble and lonely. But, you feel, almost against their will, director Phyllida Lloyd and screenwriter Abi Morgan (neither of whom, I suspect, would have approved of Mrs T when she was in office) couldn’t help but make an ill and powerless Margaret Thatcher sympathetic. . . .
big-name movie stars including actors George Clooney, Michael Douglas, Sharon Stone, Michael Keaton, Tom Hanks and his wife Rita Wilson. Filmmaker Steven Spielberg and his wife, actress Kate Capshaw, also gave to the 2012 campaign, according to the latest Federal Election Commission report. Jennifer Garner and Gwyneth Paltrow both contributed under their married names —Affleck and Martin, respectively.
“30 Rock” actor Alec Baldwin, who has often toyed with a potential political run, also shelled out cash for Obama’s second-quarter fundraising haul. And several other TV actors — such as “Monk”’s Tony Shalhoub, “Glee”’s Jane Lynch, “24”’s president Dennis Haysbert and sci-fi stars Scott Bakula and Richard Dean Anderson — joined Baldwin in contributing to the president’s reelection bid.
Comedians Will Ferrell, Carl Reiner and “The Simpsons”’s Yeardley Smith also doled out money for Obama, whose campaign attracted a record-breaking $86 million in donations. . . .
But what about the movie itself? There’s no big name actors (unless you count genre actor Armin Shimerman from “Buffy the Vampire Slayer” and “Deep Space Nine”) and a very small budget. Yet a story told from the point of view that rich guys are trying to save society while an apathetic government is content to let it lapse into ruin is itself highly unusual and does make one think. This is a thought-provoking film that asks you to use your brains instead of enduring explosions, car chases, and weapons fire, meaning that, by definition, it was never intended to be a mainstream film. The director, Paul Johansson, is himself credited for playing the mysterious John Galt, not to mention that this is part one of three (as the book is reportedly 1100 pages.) For what they had to work with and what was accomplished, the film succeeds in creating heroes of the main characters, making the mystery of John Galt’s designs and motivations compelling, and most importantly, setting up the remaining two parts of the trilogy.

The fantasy quotient of "Avatar" takes its first major hit when the Na'vi take their first hit from the American military. Mr. Cameron has devoted a significant chunk of his movie to a dark, didactic and altogether horrific evocation of Vietnam, complete with napalm, Agent Orange and helicopter gunships (one of which is named Valkyrie in a tip of the helmet to "Apocalypse Now.") Whatever one may think of the politics of this antiwar section, two things can be said with certainty: it provokes an adrenalin rush (what that says of our species is another matter), and it feels a lot better when it's over.
Other narrative problems intrude. For all its political correctness about the goodness of the Na'vis, "Avatar" lapses into lurid savage rituals, complete with jungle drums, that would not have seemed out of place in the first "King Kong." While Ms. Weaver's performance is a strong one, it isn't clear what her character is doing as an avatar, or how the Na'vi perceive her. . . .
By far the most contemptible theme in Avatar involves the hero, a young disabled American called Jake Sully, played by Sam Worthington. Before the humans declare war on the Na’vi, Sully is sent to them (in the form of a blue-skinned avatar) in a last ditch attempt to find a diplomatic solution. But, lo and behold, he becomes one of them – sympathising so much with their plight that he decides to lead them into battle against the humans.
As Left-wing conceits go, this one surely tops all the others: the ethnic Na’vi, the film suggests, need the white man to save them because, as a less developed race, they lack the intelligence and fortitude to overcome their adversaries by themselves. The poor helpless natives, in other words, must rely on the principled white man to lead them out of danger. . . . .
MEET Che Guevara. Just think of him as Jesus plus Abraham Lincoln with a touch of Moses and Dr. Doug Ross. After 4½ hours of watching Dr. Ernesto "Che" Guevara heal the sick, teach the illiterate, daze the women, execute the lawless, defeat the corrupt, uplift the peasantry and spew the sound bite, I was convinced there would be a scene in which he turned water to Bacardi.
You can't spell cliché without "Che." And as I endured this mad dream directed - or perhaps committed - by Steven Soderbergh, I wondered where I'd seen it all before. The booted stomping through the greensward, the jungly target shooting? It's a remake of Woody Allen's "Bananas," right? Minus punch lines - or perhaps with them. "We are in a difficult situation," Che observes, at a point when his army is surrounded and forced to eat its horses.
The story of the Argentine doctor Ernesto "Che" Guevara is played with much broody self-importance by Benicio Del Toro. It will be shown in two parts after its one-week opening run. That way, on consecutive evenings, it can bore everyone but activist grad students. . . .
In these days of melting ice caps and wild weather, Shyamalan poses an interesting question: What happens if the environment, spurred by centuries of pollution and disregard, turns against us?
I'm told #7 Stop-Loss opened to only $1.6 million Friday from just 1,291 plays and should eke out $4+M. Although the drama from MTV Films was the best-reviewed movie opening this weekend, Paramount wasn't expecting much because no Iraq war-themed movie has yet to perform at the box office. "It's not looking good," a studio source told me before the weekend. "No one wants to see Iraq war movies. No matter what we put out there in terms of great cast or trailers, people were completely turned off. It's a function of the marketplace not being ready to address this conflict in a dramatic way because the war itself is something that's unresolved yet. It's a shame because it's a good movie that's just ahead of its time."
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