On this edition of the INTERVUE, legendary actor John Travolta takes us on the dark side of being a fan in the upcoming thriller, The Fanatic. Directed by Fred Durst, the film tells the tale of a celebrity-obsessed man named Moose who felt slighted by his favorite movie star, Hunter Dunbar, and embarks on a quest to get a response from the actor. I sat down with John to discuss all sides of being a fan – who he idolized growing up and playing a fanatic whose willing to do anything to meet his idol.
There are about a half-dozen instances (out of several times more) adaptations of Elmore Leonard’s work for film and television that get it right: Justified, Karen Sisco, Maximum Bob, Jackie Brown, Out of Sight and, possibly the best, Get Shorty.
Drug-smuggling. Racketeering. Loan sharking. Welcome to Hollywood!
Shout! Factory’s Get Shorty: The Collector’s Edition Blu-ray will be in stores on October 23rd.
Gotti relates the story of John Gotti – the man who became known as the Teflon Don – as told by his son.
Gotti opens in select theaters and on VOD on December 15th.
Paramount Pictures’ Saturday Night Fever is getting its first Blu-ray and Digital HD release for its 40th anniversary.
The home video release of the film that captured/defined its generation will include both the Director’s Cut and Theatrical release in HD – and a five-part look at the film entitled “Catching the Fever,” deleted scenes, behind-the-scenes featurettes, a ‘70s Discopedia, and more.
Saturday Night Fever: 40th Anniversary will be available on Blu-ray and Digital HD on May 2nd.
Twenty-one more presenters have been announced for the 59th Annual Grammy Awards® – a diverse group from across all media that includes: Camila Cabello, Laverne Cox (left), Celine Dion, DNCE, Halsey (center), Taraji P. Henson, Tim McGraw, Faith Hill, Pentatonix, Solange (right), John Travolta and more (the complete list can be found below).
The 59th Annual Grammy Awards®, hosted by James Corden, will air live from the Staples Center in Los Angeles on Sunday, Febraury 12th (8/7C), on CBS.
Bruce Greenwood has played a lot of interesting characters over the course of his career, including JFK, the rebooted Star Trek’s Admiral Christopher Pike and the guy who got Joan to try cocaine on Mad Men.
Now he’s joined the cast of American Crime Story: The People V. O.J. Simpson as Los Angeles County District Attorney Gil Garcetti, the man who prosecuted O.J. Simpson.
The FX series is currently in production. For more, follow the jump.
The Forger is, as they say, in select theaters and on VOD beginning today. It’s a variation on a story we’ve seen before – an ex-con is manipulated into doing one more job.
In this case, the ex-con is an art forger and the manipulation is the favor he owes the man who gets him out of prison early so he can spend time with his dying son.
In baseball terms, Pierre Morel’s [Transporter 3, District B13] best pitch is the high, hard heater – the shoulder high fastball. His movies tend to start off with a bit of scene-setting and then shift into high gear for the rest of the ride. So it is with From Paris With Love – a movie filled with shootings, stabbings and stuff getting blowed up real good. If Joe Bob Briggs was still doing regular reviews, he’d give this three explosions out of five.
In a year when every summer film has been directed by some bland, visionless studio hack like McG, it was great watching a movie that clearly had a style and vision to it. At no point in “The Taking of Pelham 123,” you do not know that yes, this is a Tony Scott movie. All of his signature touches are here – the slow-quick motion edits, the fly in transitions, the map of the city with the text overlays it’s all here. Usually, I don’t like it when Directors insert themselves into the movie, but here it works.
For a movie written by a great screenwriter like Brian Helgeland, it’s filled with some draw droppingly bad moments. There were times when things got so stupid that I wanted to walk out, these moments kept taking me out of an otherwise thoroughly enjoyable movie. It’s why I’m having so much trouble with this review, does the good make you forget the bad? Ultimately, yes, but wow the bad moments are really, really bad. Most of them center around New York City’s Mayor (James Gandolfini) and this idiot Girl whose boyfriend has a laptop on the train that happens to have the web cam turned on so everyone in the city can see what’s going on. I got the feeling she cared more about being an Internet star than her boyfriend, there’s this dumb moment when she’s begging her boyfriend to tell her he loves her when one of the Terrorist is right near the computer.
Though it’s a remake, The Taking of Pelham 123 has an intriguing pedigree. It’s written by Brian Helgeland [L.A. Confidential, Conspiracy Theory, and Mystic River among other things] and directed by Tony Scott [Top Gun, True Romance and Deja Vu – but also The Fan and Domino], whose career hasn’t been exactly hot of late. The Talking of Pelham 123 may make Scott an in demand director again and it certainly won’t hurt Helgeland’s career, either.
It doesn’t seem like a particularly bad day for Walter Garber [Denzel Washington]. He’s running a section of dispatch for the New York City subway and things are going smoothly. We know that’s going to change because we see a series of quick cuts with determined looking men boarding a particular train – one of them is Ryder [John Travolta]. An unexpected moment of violence puts their plan into action a bit early, but it goes smoothly and the determined men take control of the train.
Walt Disney’s Bolt is a thoroughly enjoyable bit of fluff with just the right amount of darkness and danger to give kids [and their parents] a bit of a scare before everything works out. In terms of animation, it’s almost to the level of PIXAR, though the storytelling isn’t as fluid. The 3D, however, works really well, and the film has more of a feeling of solidity than I expected – and the number of showy 3D sequences is much lower than I would have expected [and none that don’t actually serve the story].
The movie’s conceit is that Bolt [agreeably voiced by John Travolta], a German Shepherd pup who was rescued from an animal shelter, and became the lead in a hit TV show – but since he’s never been off the set, he thinks his TV superpowers are real. When he accidentally gets mailed across the country, he has to get home to save Penny [Miley Cyrus], whom he believes to have been kidnapped by the show’s villain, The Green-Eyed Man [Malcolm McDowell]. He is aided by a streetwise cat called Mittens [Susie Essman] and a hilariously overeager hamster in an exercise ball, named Rhino [Mark Walton].
The second film from the Disney Animation Studios since Disney bought PIXAR, Bolt also went through a creative disembowelment at the hands of John Lasseter and seems to be the better for it. It’s much better than Meet The Robinsons on every level. The animation is first-rate [Dreamworks quality, if not yet PIXAR level]; the script is genial and genuinely amusing, and the voice cast works like a dream. If Bolt feels like a weird hybrid of Inspector Gadget, Super Friends and Homeward Bound, that isn’t really a bad thing.
Something to note: some of the scarier moments might be too much for really young kids. There were a few outbursts of tears and crying at the screening I attended. In a way, that’s a reinforcement of Bolt’s effectiveness as an entertainment – it does secure the emotional reactions it seeks. There are also more than a few laugh out loud moments [a few more than the scary darker moments] and, overall, the film does provide a number of giggles, chuckles and grins. Bolt is light entertainment, but it’s good light entertainment.
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