The new issue of Empire magazine has this new promo photo of Hugh Jackman as Wolverine for 20th Century Fox’s X-Men Origins: Wolverine, opening May 1, 2009. Directed by Gavin Hood from a David Benioff, the action-thriller co-stars Liev Schreiber, Ryan Reynolds, Taylor Kitsch, Will.i.am, Danny Huston, Dominic Monaghan, Daniel Henney and Lynn Collins.
Leading up to the events of X-Men, X-Men Origins: Wolverine tells the story of Wolverine’s epically violent and romantic past, his complex relationship with Victor Creed, and the ominous Weapon X program. Along the way, Wolverine encounters many mutants, both familiar and new, including surprise appearances by several legends of the X-Men universe. (From ComingSoon.net)
While walking back to my Boston hotel after a surprisingly well-attended Tuesday afternoon showing of Bryan Bertino’s horror thriller The Strangers, I found myself musing on what’s scary and what’s not. Whatever it is, The Strangers had enough of it to do incredibly well at the box office. But what makes such a little film with only one star (Liv Tyler) work in the first place? That the question interests me shouldn’t amaze anyone, since I’ve worked in the scare-’em-silly field for years. And it must be of vital interest to Twentieth Century Fox, which this summer releases two movies in the genre with much higher budgets: The Happening and The X-Files: I Want to Believe. The Happening was better than I expected, but it wasn’t as scary as The Strangers. As for The X-Files (out July 25)? Children, I have my doubts.
One thing that seems clear to me, looking back at the 10 or a dozen films that truly scared me, is that most really good horror films are low-budget affairs with special effects cooked up in someone’s basement or garage. Among those that truly work are Carnival of Souls, Halloween, The Texas Chainsaw Massacre, Night of the Living Dead, and The Blair Witch Project. All cost almost nothing to make and earned millions, while their sequels and remakes were crap (Dawn of the Dead in both its incarnations being the exception that proves the rule).
Horror is an intimate experience, something that occurs mostly within oneself, and when it works, the screams of a sold-out house are almost intrusive. In that sense, a movie such as Blair Witch is more like poetry than like the ”event films” that pack the plexes in summer. Those flicks tend to be like sandwiches overstuffed with weirdly tasteless meat and cheese, meals that glut the belly but do nothing for the soul. Studio execs, who not only live behind the curve but seem to have built mansions there, don’t seem to understand that most moviegoers recognize all the bluescreens and computer graphics of big-budget films and flick them aside. Those movies blast our emotions and imaginations, instead of caressing them with a knife edge.
The scariest sequence I can remember is in Night of the Living Dead. The cemetery-visiting heroine, Barbara, is chased back to her car by a lurching zombie with white hair and dazed eyes. She locks herself in only to discover her brother has taken the keys. The zombie reaches down, finds a rock, and begins to bash it strengthlessly against the car window. The first time I saw this (and twice after), the scene reduced me to jelly.
Of Fox’s two summer creepshows, give the edge to The Happening, partly because M. Night Shyamalan really understands fear, partly because this time he’s completely let himself go (hence the R rating), and partly because after Lady in the Water he had something to prove. And, happily, Happening plays as a relatively small movie. The new X-Files movie, on the other hand, looks big…but horror is not spectacle, and never will be. Horror is an unknown actress, perhaps the girl next door, cowering in a cabin with a knife in her hands we know she’ll never be able to use. Horror is the scene in The Strangers where Liv Tyler tries to hide beneath the bed…and discovers she can’t fit there.
One more problem: Big movies demand big explanations, which are usually tiresome, and big backstories, which are usually cumbersome. If a studio is going to spend $80 or $100 million in hopes of making $300 or $400 million more, they feel a need to shove WHAT IT ALL MEANS down the audience’s throat. Is there a serial killer? Then his mommy didn’t love him (insert flashback). A monster from outer space? Its planet exploded, of course (and the poor misunderstood thing probably needs a juicy Earth woman to make sexy with). But nightmares exist outside of logic, and there’s little fun to be had in explanations; they’re antithetical to the poetry of fear.
That’s why I can’t imagine that anything in X-Files will match Liv Tyler’s exchange with one of the masked home invaders in one particularly terrifying scene of The Strangers.
”Why are you doing this to us?” she whispers.
To which the woman in the doll-face mask responds, in a dead and affectless voice: ”Because you were home.”
In the end, that’s all the explanation a good horror film needs. (Reprinted from Entertainment Weekly)
When it comes to food, America gets a bad rap. It’s a common refrain that America has no cuisine to call our own. We’ve got apple pie and hot dogs, but that’s about it. (And when you really get down to it, the Germans invented hot dogs, and the British were eating apple pie like 1,000 years ago.
But the truth is, America does have a cuisine to call it’s own. Over the past 232 years we’ve invented some of the most creative, daring, and yes, downright craziest dishes the world has ever seen. Sure, they can be overly greasy, a little too cheesy, and sometimes fried a few times too many. But they’re ours.
Please click here for the list. (From EndlessSimmer.com)
According to Billboard, ZZ Top has signed a new record deal with Rick Rubin‘s American Recordings imprint through Columbia. The veteran rock trio is planning to hit the studio with Rubin producing, for an album more in keeping with “La Grange”-era ZZ Top than its pop-friendly ’80s sound, according to manager Carl Stubner. The band recorded for Warner Bros. for the first 20 years of its career before shifting to RCA in the mid-1990s. ZZ Top’s last album, 2003’s “Mescalero,” has sold 103,000 copies in the United States, according to Nielsen SoundScan. The hope is that with Rubin’s guidance, the band can enjoy a commercial and critical revitalization along the lines of prior Rubin clients Johnny Cash and Neil Diamond. For his part, Stubner, who began managing ZZ Top a year-and-a-half ago, has worked to increase ZZ Top’s visibility via an increased focus on licensing and TV appearances, including the finale of “American Idol” this spring. “We thought this was a great brand that was kind of dusty,” he says. “My goal was to polish it and do certain things they hadn’t done before.
Every TV show wants one, but few achieve it: a catchphrase. The best ones not only propel their show into the limelight, but eventually take a life of their own, sometimes getting into the dictionary, sometimes even electing a president. Please click here for the stories behind some of TV’s most famous catchphrases.
This summer’s “must-read” (according to People magazine and other critics): The Story of Edgar Sawtelle by David Wroblewski (Ecco, $25.95). Take a first novel about a mute boy and his dog written by a 48-year-old Colorado software designer. Add rapturous reviews.
Then include a quasi-mystical moment involving Stephen King, who picked up the advance bound manuscript and started reading.
The reason? “I really don’t know. It just called to me. Sometimes they do that,” says King. His subsequent blurb begins: “I flat-out loved The Story of Edgar Sawtelle.”
Released June 10 with a first printing of 26,000 copies, the novel is in its 12th printing with 170,000 in print, a large number for a first novel by an unknown writer.
“It’s one of those magical books, like Water for Elephants,” says Cathy Langer, lead buyer for Denver’s Tattered Cover bookstores. “The word of mouth has been huge.” It’s not just dog lovers. “It’s speaking to a lot of different people’s hearts.”
“It’s the Cinderella story we’re all so proud of,” says the book’s editor, Lee Boudreaux. “It’s such an wonderful, old-fashioned read. … You lose yourself in this book.”
She mailed the manuscript to King although she knew “he gets tons of galleys.” They met while working on the 2001 novel Black House,which King and Peter Straub co-wrote.
Set in rural Wisconsin, The Story of Edgar Sawtelle tells the tale of a young boy mute since birth. With his dogs, he confronts family secrets, tragedy and danger.
Like his protagonist, Wroblewski grew up in Wisconsin, where his parents tried dairy farming and running a kennel. His first memory at age 2 is of the family collie, and dogs remain a crucial part of his life.
The book’s success “has been just jaw-dropping,” he says. He has been too busy giving readings and interviews to celebrate.
As for his famous fan, Wroblewski says he and King have e-mailed. “We’ve exchanged thank-yous. I’ve been a bit tongue-tied. And I’m star-struck.” (From USA Today)