In a piece by Gina Piccalo, the Los Angeles Times is reporting today — and my own emails are confirming — that 20th Century Fox won’t be screening The Simpsons Movie for critics until three days in advance of its July 27 general release, ostensibly a strategy to the preserve the film’s plot, which has been a source of rabid speculation ever since the project was announced last year with a surprise theatrical trailer. While there’s the typical speculation that such a move means Fox doesn’t feel they really have the goods with the movie, I’m apt to side here with those that believe the surface explanation.
The trailers and TV ads to date have sold the movie merely on its status — as a celebratory filmic extension of the series. To the extent that plot points have been leaked or reported on (a nuclear accident in Springfield, etcetera), there’s been a lot of talk about these being potential misdirection, and large portions of the material from trailers being specially crafted for such. To me, that seems plausible. And you know what? I don’t really mind.
I originally meant to repost this review of a completely average “rampaging dad” flick starring Ray Winstone on Father’s Day, actually, but I just last night saw a guy get up in some other dude’s grille about (accidentally, it seemed) pushing his 8- or 9-year-old daughter out of the way, and it struck me that there really is a comparatively healthy subset of Charles Bronson-type guys out there, for whom any affront is cause to throw down. Usually we get the nobly questing father, trying to find his missing child or avenge an awful death of said offspring. In real life, though, a lot of these guys are simply big ol’ douchebags. Ahh, rampaging dads…
Good news, of a sort — despite some earlier indications to the contrary, Hot Rod‘s final, commercial release running time is in the ballpark of 87 minutes or so, definitely under 90 minutes, even with credits. I’ll try to have a few more thoughts on the film tomorrow…
I have a dirty confession to make. I’m a professional film critic and Harry Potter and the Order of the Phoenix, the fifth film in a franchise whose five efforts thus far have raked in a combined $3.5 billion domestically, is the first film in the series that I’ve seen. This is irresponsible to some and baffling to most, but I find it rather amusing.
When the first movie came out, in November of 2001, I was the editor-in-chief and principal film critic of a now-defunct weekly entertainment paper here in Los Angeles, so I had my pick of the litter with regards to assignments. The thing was, I wasn’t necessarily as excited about Harry Potter
as the general populace. I’d heard good things about the books (even a
thumbs up from my mom), but hadn’t read any of them; given that my
regular job indulged such high amounts of escapist fiction, any time I
had left for reading invariably was devoted to biographies or something
of the sort, so I could feel like I wasn’t completely rotting my brain
The paper where I worked wasn’t invited to the film’s out-of-town
junket (in London), and I believe I had another, admittedly nominal
conflict the evening of the announced screening I first heard about
from a Warner Bros. publicist. So I passed the movie along to one of my fine and more than grateful freelancers; I think I reviewed Steve Martin’s Novocaine, Snoop Dogg’s The Wash, and the indies Maze and The Fluffer that week, four films which collectively opened on less than a quarter of the screens that Harry Potter did.
I followed with interest the intriguing choices of director for the
series, and some of the other gossip, but never really felt like I was
missing out. If anything, I thought fondly of a day 20 years hence,
just settling down one weekend with a stack of DVDs (or whatever form
of newfangled home exhibition was all the rage at that time) and
plowing through them all, my own little discovered pop cultural time
capsule. But now I’ve gone and ruined that a bit. And all in all, I have to say, I enjoyed the movie just fine.
It’s not as
bewildering of an experience as you might think, actually, wandering
into a series completely cold. You’re probably able to appreciate
certain things a bit more — certainly there’s no irrational attachment
to the novels’ exposition or detail in setting. I had no strong previous connection to the material, but was carried
along by the film’s rather savvy balance of wonderment with a sense of
impending doom and mystery. Coming out of The Order of the Phoenix, I can understand and more fully appreciate the series’ appeal, even without the same sum-total hourly commitment of shared darkness. For the full review, from FilmStew, click here.
