Hitchcock Poll and DVD Giveaway Results

We’ve been running a bit of an Alfred Hitchcock theme here at FlickeringMyth.com over the last week or so, and thank you to everyone who has voted on our poll and entered the DVD giveaway. Here are the results...

Poll – Hitchcock’s Best?

Psycho (17%)
Rear Window (15%)
The Birds (11%)
The 39 Steps (11%)
Vertigo (11%)
North by Northwest (9%)
Strangers on a Train (7%)
Shadow of a Doubt (5%)
Rebecca (3%)
Something Else! (3%)

I have to agree that Psycho is probably my personal choice (review right here), but it’s a mighty difficult poll with some real classics in there. Rebecca - while still an interesting film - hasn’t dated too well and is likely the weakest of the field, although I'm a little surprised that The Birds featured so highly...

Hitchcock DVD Giveaway

The winners of our DVD contest:

Jill Jackson – Strangers on a Train
Janine Conteh – North by Northwest

Thanks to everyone who entered, and we’ll be running similar giveaways over the coming weeks and months so please check back soon.

Meanwhile, catch a couple of free streaming Hitchcock classics right here on the blog:

The Man Who Knew Too Much (1934)
The 39 Steps (1935)

UK Box Office Top Ten - weekend commencing 27/03/09

UK box-office top ten for the weekend of Friday 27th - Sunday 29th March 2009.

Three movies debuted in the top five this weekend; most notably, the Alex Proyas sci-fi thriller Knowing, starring Nicholas Cage, which took the top spot with a weekend box office of £2,471,605. The Haunting in Connecticut opened in third, while Brian Clough football biopic The Damned United netted £600k, claiming a UEFA Cup place in fifth.

Marley & Me - top film for the previous two weeks - crossed the £10m mark in the U.K. but slipped into second, and on the home-front British horror-comedy Lesbian Vampire Killers and period drama The Young Victoria slipped to eigth and tenth respectively. However, there was no room this weekend for Danny Boyle's Oscar-winning Slumdog Millionaire, which had spent eleven weeks in the top ten, or the crime thriller Bronson, starring Tom Hardy as the notorious British convict.

Pos.	Film	Weekend Gross	Week	Total UK Gross
1	Knowing	£2,471,605	1	£2,471,605
2	Marley & Me	£1,680,143	3	£10,861,248
3	The Haunting in Connecticut	£1,127,679	1	£1,127,679
4	Paul Blart: Mall Cop	£1,020,667	2	£2,782,701
5	The Damned United	£618,929	1	£618,929
6	Duplicity	£547,324	2	£1,893,129
7	Gran Torino	£339,578	6	£7,347,124
8	Lesbian Vampire Killers	£322,520	2	£1,337,796
9	Watchmen	£303,998	9	£8,302,297
10	The Young Victoria	£233,516	2	£4,246,572

Next weekend shouldn't see too much movement apart from the Dreamworks 3D animated release Monsters Vs. Aliens, which should go straight in at number one and possibly at the expense of Watchmen.

Classic Movies - It's a Wonderful Life (1946)

It’s a Wonderful Life, 1946.

Directed by Frank Capra.
Starring James Stewart, Donna Reed and Lionel Barrymore.


SYNOPSIS:

On the verge of suicide after finding out he might be bankrupt, George Bailey is visited by guardian angel Clarence on a mission to save George’s life, thereby getting his angel wings. Clarence displays to George what life would be like in his small hometown of Bedford Falls should he get his wish of wanting never to be born. George is devastated at the turmoil suffered by those he holds most dearly in his life without his influence or intervention and desperately seeks a second chance at living again, his desire to end his life replaced now with a renewed vigour and wonder at the world he previously felt so disappointed by.


Often considered the archetypal Christmas film and grouped within other Christmas classics such as White Christmas (1954), Miracle on 34th Street (1947) and Home Alone (1990), It’s a Wonderful Life surprisingly deals with themes of redemption, industrialization and even suicide. The dark side of this film though does not detract from the end result, a world class example of the ‘feel good film’ which ensures the viewer discovers the importance and wonders of life as much as lead protagonist George Bailey does.

The film somehow infuses and incorporates the genres of fantasy, romance, drama and family into one heart warming tale, promoting community spirit while painting the continued commercialisation of small town America in a negative light. It’s a Wonderful Life was originally a flop financially, not reaching break-even point at the box office. Similarly to The Shawshank Redemption (1994), It’s a Wonderful Life garnered its now world famous reputation by its television rights being picked up relatively cheaply by an American television broadcaster, therefore enabling the company to show the film as frequently as they would like, ensuring It’s a Wonderful Life became a staple part of the celebration of Christmas for the everyday American family. This blossoming reputation quickly turned to world wide adoration and thus It’s a Wonderful Life eventually became the greatest Christmas film of all time.

Set as well as made immediately after WWII, director Frank Capra adapted Phillip Van Doren Stern’s short story “The Greatest Gift” to the screen in an attempt to promote American everyday life and alleviate the doom and gloom suffered by the public during the war. Capra had already proved himself as Hollywood’s number one feel good movie director with previous successes Mr. Deeds Goes to Town (1936) and Mr. Smith Goes to Washington (1939) but It’s a Wonderful Life is considered his greatest achievement. Lead actor James Stewart himself had recently returned from service in the army both as a private as well as a pilot and this was his first post war performance, five years after his last film role. The post war feeling in the US was crucial in both the production of this film which attempted to delight American filmgoers while also was a detriment to the success of It’s a Wonderful Life, audiences not wanting the darker aspects involved in the film such as suicide brought to their attention at an already difficult time.

The film has become one of the all time treasures of Hollywood cinema and is an excellent example of the superb work achieved by both Capra and Stewart throughout their careers. Stewart’s George Bailey is now considered something of an American hero, abandoning his own dreams of professional success and travelling the world for the good of his own community, fending off the financial stranglehold of tycoon Henry F. Potter played to infuriating perfection by Hollywood stalwart Lionel Barrymore. Their intense business as well as personal rivalry is the conflict which provides an ideal catalyst for the plot, climaxing in Potter stealing money from Bailey’s company, forcing him to bankruptcy and the desire to end his life.

It’s a Wonderful Life comes across as a glorious success which exemplifies everything positive about Hollywood filmmaking; the happy ending is justified within the film as a whole, and somehow avoids an argument of the film seeming too unlikely or staged. Although it may have not achieved its original goal, over the years it has emerged as a gem of American cinema as well as considered the greatest Christmas film ever. Accolades are emptied by the bucket-load towards the direction of both Capra and Stewart, and this is considered quite rightly among of the best of each of their work.

Rory Barker

Movies... For Free! The 39 Steps (1935)

Showcasing classic movies that have fallen out of copyright and are available freely from the public domain (with streaming video!)...


The 39 Steps (1935).

Directed by Alfred Hitchcock.
Starring Robert Donat and Madeleine Carroll.

Based on the adventure novel The Thirty-Nine Steps by John Buchan (which you can download for free here), Alfred Hitchcock’s classic chase thriller is a masterpiece of British cinema, and ranks at Number 4 on the BFI Top 100. With a fast-paced mix of action, humour, and suspense, The 39 Steps raised the bar for British – and international – film-making, and rightfully established Hitchcock as a true cinematic force.

When shots are fired during a theatre performance by “Mr. Memory”, Richard Hannay (Donat) finds himself protecting a young woman who, after returning to Hannay’s apartment, claims to be a secret agent with details of a plot to steal British military secrets. Providing little details save for a mention of the mysterious “thirty-nine steps”, the woman is stabbed during the night and Hannay becomes the prime suspect in a nationwide manhunt as he seeks to unravel the conspiracy and clear his name. The film differs from the novel substantially, introducing love interest Pamela (Carroll), who becomes handcuffed to Hannay as the chase unfolds across the country. She gradually finds herself drawn to him as his innocence becomes apparent, with excellent chemistry between the two leads.

The basic premise of an innocent man on the run is also one that Hitchcock would later explore in films such as Saboteur (1942) and North by Northwest (1959), and also includes elements of The Man Who Knew Too Much (1934), which he had directed a year earlier.



Embed courtesy of Internet Archive.

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Extreme Cinema - A Clockwork Orange (1971)

A Clockwork Orange, 1971.

Directed by Stanley Kubrick.
Starring Malcolm McDowell, Patrick Magee, Michael Bates, and Warren Clarke.


SYNOPSIS:

In a future British society law and order has completely broken down allowing gangs of youths to roam the streets looking for trouble. Arrested for murder, gang leader Alex Delarge is reconditioned and set free into this hostile and unforgiving world.


Stanley Kubrick’s A Clockwork Orange, based on the 1962 book by Anthony Burgess, resulted in a media frenzy upon release due to its strong violence (for its time) and alleged copycat rapes/killings. The film centers around Alex (Malcolm McDowell), a Beethoven loving juvenile delinquent who enjoys indulging in rape and violence with his gang. After drinking milk spiked with drugs, Alex and his gang embark on 'a bit of the old ultra violence'. They start by beating up a tramp and a rival gang before invading the home of a political writer, crippling him and raping his wife.

On a later break in, Alex kills the cat lady fitness fanatic, is betrayed by his gang and captured by the police. In prison, Alex undergoes a new type of aversion therapy in which he is rendered incapable of committing any kind of atrocity. This is achieved by injecting him with medication and forcing him to watch films featuring rape and violence. His violent and sexual impulses are now thwarted by feelings of nausea as is his love for Beethoven.

When released, Alex is set upon by his previous victims including two of his former gang members who almost drown him in a water trough. Alex then stumbles upon the house of the writer whom he had previously crippled and whose wife has died as a result of the attack. When the writer eventually recognises his assailant, he drives Alex to attempt suicide by playing Beethoven on two large speakers. Alex recovers in hospital and the aversion therapy is discredited. The film ends with the suggestion that Alex will resume his old ways.

A Clockwork Orange ran in London’s West End for over a year when Kubrick decided to withdraw it from distribution in England in 1973. Hurt and offended by constant media attacks and threats to himself and his family, Kubrick no longer wanted to be blamed for the problems with society. The film's distributors Warner Brothers had a good relationship with Kubrick and respected his wishes. Somewhat ironically, due to Kubrick’s unwillingness to speak to the media about his decision, Anthony Burgess was often badgered by them each time a crime occurred supposedly influenced by the film. Kubrick’s ban on the film was enforced until his death in 1999. The film was then re-released uncut with an 18 certificate in the year 2000.

It is easy to see why the film was passed uncut as Kubrick was a renowned director and his film was seen as important in the debate about violence and free will. Alex’s rape of the writer’s wife was implied but not shown. The rival gang who were beaten by Alex and his friends were interrupted whilst attempting to gang rape a girl who managed to get away. The actual gang rape of a girl in one of the films Alex was forced to watch during his aversion therapy resulted in feelings of nausea for Alex. These scenes often implied but did not depict explicitly or promote sexual violence.

Viewed today, A Clockwork Orange still has some impressive moments particularly the opening sequence in the Korovo milk bar and the first twenty minute orgy of violence. The music and narration are excellent as are Kubrick's camera tricks including a very contemporary looking hand held camera deployed during the invasion of the writer’s house and the murder of the cat lady. It was these opening scenes of Alex and his gang dressed in tribal gear and on the rampage that incensed so many impressionable youths at the time of the film’s release.

Alex is a very charismatic lead though worryingly is the only real character in the film as everyone else is distinctly one dimensional and unsympathetic including Alex’s victims. The crippled writer is a very twisted and depraved old man and no sympathy is felt for him. After Alex is captured and sent to prison the pace of the film slows down considerably. Here, Kubrick adopts his more conventional clinical style effectively distancing the audience and dragging the film to its conclusion. Whilst the film’s opening scenes have retained much of their power (youths today are known for dressing a certain way, speaking in a specialised language and engaging in violent acts for fun), the rest of the film has dated.

Santosh Sandhu graduated with a Masters degree in film from the University of Bedfordshire and wrote the short film 'The Volunteers'.

Five Essential... British Movies

In a new column, Richard J. Moir selects his Five Essential British Movies...

5. The Full Monty (1997, dir. Peter Cattaneo)

The Full Monty is the film you heard about when you were a child, but were far too young to know anything about. When I finally got round to watching it, I was half laughing at my innocence beforehand and at the genius of the film itself. Every single actor doesn't fail to put in a performance, with Robert Carlyle already showing why he himself is one of Best of the British. The laughs are sprinkled well throughout the film, and is driven forward by each man's personal fear, of which the others help. Funny, charming and faultless.





4. The Long Good Friday (1980, dir. John Mackenzie)

Having not seen many British gangster films I finally got to see one which many have loved and quoted as the best British gangster film out there. Bob Hoskins stars as the London mob boss, caught up in more than he can handle. Some of the dialogue is superbly written, with Hoskins getting the majority of the witty lines. Some scenes are brilliantly brutal, but others are just laughable, including a shower scene which was meant to be taken seriously, but I couldn't help a giggle. Hoskins steals the show but he isn't against much competition as characters fade in and out too quickly before we get to know them.




3. Gregory's Girl (1981, dir. Bill Forsyth)

Gregory's Girl (starring John Gordon Sinclair and Dee Hepburn) is a romantic comedy, sure to tickle your rib cage and have you wanting more. The subtlety of the humour is brilliant, as Gregory tries to win over tom-boy Dorothy. Each actor brilliantly plays their part in a timeless classic.









2. A Clockwork Orange (1971, dir. Stanley Kubrick)

Dark comedy at it's greatest in one of the most disturbing and controversial films ever made. Malcolm McDowell is brilliant as the narrator, a sex driven rapist who loves Beethoven and his pet snake. What's not to love? The film makes a great contrast from the fantastic novel by Anthony Burgess, and Kubrick sticks well to the story, while using his fantastic directing skills to get the best out of McDowell and also the amazing, futuristic sets.






1. Trainspotting (1996, dir. Danny Boyle)

And here is where we see Robert Carlyle again. Only this time, he doesn't take the limelight. This is for Perth-born Ewan McGregor, who shines in this film about loneliness, drug addiction, sex and Scotland. The film hits home hard, so you have to be prepared to watch it, and the humour is very dark. Although, that can be questioned when you take Spud's character, brilliantly played by Ewen Bremner. Each character is portrayed to perfection and Danny Boyle, one of my favourite directors, has done well with another novel-to-film adaptation. Choose British Film. Choose Trainspotting.




Honourable Mentions...

This Is England (2006, dir. Shane Meadows)
East is East (1999, dir. Damien O'Donnell)
The Italian Job (1969, dir. Peter Collinson)
The 39 Steps (1935, dir. Alfred Hitchcock)
Kes (1969, dir. Ken Loach)

Agree? Disagree? We'd love to hear your comments on the list...

Richard J. Moir

Essentials Archive

Mamma Mia and Doubt: Two Faces of Meryl Streep

Elspeth Rushbrook provides a comparison of Meryl Streep's two latest movies, Mamma Mia and Doubt...


In my view, the former is only worth seeing as a contrast to the latter. In a week, I saw middle aged Meryl leap on bed and roll on the floor and squeal; and then don a fearsome bonnet and play one of these serious award winning roles that I associate with her.

Not being one for hype or having an especial love of Abba, I eschewed the summer blockbuster come winter warmer and saw it only with my mother as post cancer cheer up at home. I quickly realised that I would need a glass of wine to cope with the cavorting and loosely sewn hits from the Swedish band to make a semblance of a story. I say again how much the squealing of the women - both older and young - struck me and made me recoil. That was when I first got up and flew to the fridge for solace. The story is that a young girl is about to marry and wants to invite her Dad - but her mum had three flings close together and the daughter does not know which led to her birth. So she invites all three old flames of her bohemian single mother, without warning, to their Greek island for singing mayhem to ensue. The spectacle was not the hoards of dancers bursting into quite tangent songs to fit Abba's repertoire in; it was the woman known for Oscar nominated epics doing something so daringly different.

I kept blinking to think that the brilliant, brilliant drama Doubt was the same woman in the same year. For I had last seen Meryl in a beautiful old repertory provincial cinema playing a nun headteacher who battles the winds of change (literally blowing though her window) and yet mixes austerity, judgment and conservatism with warmth, humour and sympathy. The trailer and synopsis for Doubt led me to believe that I would probably simply hate Sister Aloysius as this obstacle to progress: a racist and accusing woman who wages an reasonable personal vendetta against her warm, caring superior, played by Philip Seymour Hoffman. But despite Father Flynn's early comment that she is a hungry dragon, I found her more of a Beauty and Beast kind of monster - one that you kind of pity and even rally for. When wonderful younger Sister James feels bound to report that Father Flynn and the school's lonely only black student are spending inappropriate time together, Sister Aloysius believes the Father is being abusive. Even that is too crude a description of the story and misses out other characters, such as the older nun who's going blind but no-one will admit this. Father Flynn is not simply the good, victimised, forward thinking one. We are given a creeping suspicion that Sister Aloysius isn’t wrong. Reviews have said 'she has no proof but her certainty' but that is not a truly reflective statement. And Father Flynn is not always more appealing.

Without wishing to spoil it, the drama does not go into the corners I expected. Amy Adams' character (Sister James) also deserves a special mention. When she teaches her heartfelt class on American presidency, it made me want to go and research the subject, although I have never cared about it before. Perhaps we applaud those performances that show only melancholy or evil or disability and illness; but Sister James combines many emotions including a guileless warmth and positive regard which makes her award nominations well deserved.

Doubt is one of the best written dramas (by John Patrick Shanley) that I recall having ever seen. From the opening homily serving as a prologue, the quality of the story - its themes, dialogue - was clear. It is rare that I sit in a cinema so savouring a film that I do not want it to end. Unlike Mamma Mia, when I was rather relieved.

Elspeth Rushbrook
www.myspace.com/elspethr

Terminator Salvation Changes?

Moviehole are reporting that dramatic changes have been made to the last act of this summer's blockbuster sequel, Terminator Salvation, starring Christian Bale and Sam Worthington.

The alterations come as a response to a previous internet leak about the rumoured ending for the new movie, which was met with derision by fans of the franchise. However an insider has confirmed that the studio have since taken note of this response and reworked the film, stating that "the [new] ending doesn't resemble the previous one in any shape or form".

I must say I'm glad to hear this news, and Terminator Salvation is now officially my most anticipated movie of the summer. Check the trailer out here.

UK Box Office Top Ten - weekend commencing 20/03/09

UK box-office top ten for the weekend of Friday 20th - Sunday 22nd March 2009.

Three new films appear in the top five this weekend but neither Paul Blart: Mall Cop, Duplicity, or Lesbian Vampire Killers had enough appeal to wrestle Marley & Me from the number one position. The canine comedy retained it's spot with a weekend gross of £2,166,270, and has now pulled in over £8m in less than two weeks.

The new releases meant that Watchmen, Gran Torino, Slumdog Millionaire (Danny Boyle's Ocsar-winner having now passed the £30m mark on home soil), The Young Victoria, and Bolt all dropped three places, while violent British biopic Bronson managed to cling on to tenth spot at the expense of Confessions of a Shopaholic, The Unborn, and Hotel For Dogs.

Pos.	Film	Weekend Gross	Week	Total UK Gross
1	Marley & Me	£2,166,270	2	£8,164,343
2	Paul Blart: Mall Cop	£1,289,513	1	£1,289,513
3	Duplicity	£796,244	1	£796,244
4	Lesbian Vampire Killers	£648,634	1	£648,634
5	Watchmen	£594,510	3	£7,556,596
6	Gran Torino	£484,808	5	£6,659,193
7	Slumdog Millionaire	£416,356	11	£30,471,084
8	The Young Victoria	£387,399	3	£3,550,675
9	Bolt	£201,250	6	£17,546,419
10	Bronson	£161,880	2	£581,211

Nicholas Cage sci-fi thriller Knowing currently sits atop the U.S. box office and will hope to repeat that success when it opens here in the U.K. on Wednesday.

Meanwhile sports fans have plenty to enjoy with the release of The Damned United - an account of football legend Brian Clough's doomed spell as manager of Leeds United - along with documentary Tyson, which sees a limited cinema release.

Knowing Screenwriters Talk Birds and Poltergeist Remakes

Fresh off the success of sci-fi thriller Knowing, which opened in first place at the U.S. box-office this past weekend, screenwriting couple Juliet Snowden and Stiles White have been talking to The Wrap about their upcoming projects - remakes of both The Birds and Poltergeist.

Acknowledging fans' concern towards these new versions of the classic movies, White suggests that their version of the Hitchcock classic will return to the original novella by Daphne du Maurier for inspiration: "We went back to the source material rather than going to his film. Ultimately, what you would get is a modern-day retelling of what if a bird phenomenon happened like that again."

With regards to Poltergeist, expect a straight-up retelling of the original movie, albeit with a contemporary setting. "Poltergeist is a much more specific story - one family, one house. It's treasured; it's valuable. It was a real snapshot of the American family in the year that it came out and I think what we would do with the reimagining of it is, 'What is the American family up to today?'".

Snowden and White will undoubtedly encounter much resistance to these two projects as development moves forward, and fans will be hoping to avoid another abomination like The Boogeyman (2005), which the couple also wrote. However, they are keenly aware of how highly audiences regard the originals, with White explaning that, "Those are beloved movies that go beyond just a good film... You know, it's like riffing to a Beatles record: it's more than just a record - it's fused into your life."

World Cinema - The 400 Blows (1959)

The 400 Blows, 1959.

Directed by François Truffaut.
Starring Jean-Pierre Léaud.


SYNOPSIS:

The 400 Blows follows normal adolescent boy Antoine Doinel as he struggles to contend with all authority figures in his life, from schoolteachers to parents. As we are invited into this character study of Antoine it becomes increasingly clear that he is already disillusioned with life at his young age, and the film also uncovers the ineffectual dealings of the French government with juvenile offenders.


In this semi-autobiographical directorial debut, François Truffaut writes and directs a film light-years apart from the norm of French cinema at the time, which he had argued so aggressively against in the magazine Cahiers du Cinema (he was subsequently banned from the Cannes Film Festival in 1958). Needing to prove that he in fact could create a superior film to those which he argued so strongly against, Truffaut debuted with the imperious The 400 Blows, coming through this test with flying colours and creating his own brand of character based cinema as well as defining French New Wave cinema in one masterstroke. Based loosely on Truffaut’s own upbringing in the suburbs of Paris, The 400 Blows depicts Antoine Doinel as a disillusioned young tearaway, ignored by his parents and chastised at school, which ultimately results in him falling into the hands of the authorities in a young offenders institute.

Antoine lives a mistreated life with his mother, a distant, harsh figure with little interest in the day to day activities of Antoine and his stepfather, a seemingly jovial man who is revealed as someone with little love for Antoine and no interest in declaring the child as his own. They live together in a cramped apartment in Paris, with barely enough room for Antoine to sleep and nowhere near enough room for the three of them not to get on each others nerves. Antoine becomes increasingly disenfranchised with this situation when, while playing truant from school, he sees his mother kissing another man. After being repeatedly punished at school for his trouble making behaviour, Antoine eventually decides to run away, living at first with his school friend René and then fending for himself out on the streets until he is arrested and imprisoned at a juvenile detention centre.

Antoine’s life of petty crime materialises because of his lack of direction and boredom, rather than any malicious side of his personality, something which is displayed subtly but effectively in this character study. This is particularly evident in a superb scene where Antoine is in the juvenile detention prison, answering questions from a psychiatrist who we hear but do not see. This scene draws the audience towards Antoine, as his honesty and intelligence shines through despite his neglected upbringing. The performance of Jean-Pierre Léaud as the troubled runaway is what provides Antoine with this natural likeability in his first film role. Léaud incorporates much of his own demeanour into the performance of Doinel and was even encouraged to adlib and improvise by Truffaut, who was immediately impressed with the young actor whose mannerisms increased the overall reality of the film. Léaud proved so popular with Truffaut and other directors of the time that he quickly became the poster boy of the French New Wave, acting in several films for Truffaut and Jean-Luc Godard for many years to come.

This film is rightly considered to be not only one of the best French films but one of the greatest of world cinema, and one which defined a generation. Truffaut’s wonderfully original, highly acclaimed film launched his career, as well as that of lead actors Léaud, and spawned several sequels and imitations, none of which live up to the complete quality and originality of The 400 Blows. Truffaut went on to make many other great films but The 400 Blows is often considered his masterpiece and, as it is semi-autobiographical, it is the one for which he will always be remembered.

Rory Barker

It's a Wrap - Sarah Connor and Frank Drebin have The Touch again?

It’s a Wrap – Naked Gun, Terminator, G.I. Joe, Transformers…It’s the 1980’s all over again this week, with a little Inglourious Basterds and Expendables thrown in for good measure.

This week AICN delivered a glowing script report for The Naked Gun: What 4? The Rhythm of Evil, and it immediately perked my interest. The originals are classic examples of the spoof genre and Leslie Nielson’s Sergeant Frank Drebin, Detective Lieutenant Police Squad, is amongst my favourite comedy performances of all time. However, the genre is in a decrepit state at the moment after a string of poor efforts and I would hate for this straight-to-video release to tarnish the Naked Gun legacy.

The story sounds quite promising as Police Squad are reactivated in a desperate attempt to end rampant corruption plaguing the city, and reads as a kind of reboot with Nielson serving as a mentor to a newly assembled team. It will play on movies such as Training Day, The Departed and Internal Affairs, and is written by Alan Spencer, (who has previous experience in the genre with the TV series Sledge Hammer!). Unfortunately, no Zucker, Abrahams, Zucker, or Proft, but I’ll likely check this out, albeit with the expectation of Cop Movie over Naked Gun.

The website for upcoming Quentin Tarantino World War II blood-fest Inglourious Basterds went live this week. There's little more than the trailer so far, which you can also check out below.

On the subject of men-on-a-mission war movies, the cast of Sylvester Stallone's The Expendables are starting to live up to the film's title. First came the news that Forest Whitaker had withdrawn due to scheduling conflicts and would be replaced by rapper 50 Cent, only for Stallone to later announce that Fiddy was out and Terry Crews (of Everybody Hates Chris fame) was in.

Studio Lionsgate has set a release date of April 23rd, 2010 for the The Expendables, which also stars Jet Li, Jason Statham, Dolph Lundgren, Mickey Rourke, and Stone Cold Steve Austin.

Looking at this summer's upcoming blockbusters, IGN were treated (if that's the right word) to a five-minute sneak-peak of the Stephen Sommers-directed G.I. Joe:Rise of Cobra, and their report contains a few spoilers and plot details about the movie. Indications point to a visually-impressive, over-the-top thrill ride, but I'm not holding my breathe on this one. Meanwhile Hasbro's other hot property, Transformers: Revenge of the Fallen, is rumoured to be ressurecting the Stan Bush classic, "The Touch", which of course was integral to the original animated movie. I wonder if this means we could be in for a change of leadership somewhere along the line? Hmm...

On the subject of Transformers, Paramount announced that July 1st, 2011 would see the release of the third movie, only for director Michael Bay to announce on his blog that he is looking towards a 2012 opening and wants to take a year off before starting any work on a third outing for the Autobots. No doubt the studio will back down to his demands once Revenge of the Fallen sets the box-office alight this June.

IGN also got their hands on some new posters and from Terminator Salvation this week, which you can view by clicking the image to the right.

The McG-directed sequel is shaping up to be one of the most anticipated movies of the summer, and a source from Chud.com has confirmed that Sarah Connor does provide a voice-over during the film, with Linda Hamilton reprising her iconic role.

You can also view the Terminator Salvation trailer right here at FlickeringMyth.com.

Movies... For Free! Reefer Madness (1936)

Showcasing classic movies that have fallen out of copyright and are available freely from the public domain (with streaming video!)...


Reefer Madness, a.k.a Tell Your Children (1936)

Directed by Louis Gasnier.
Starring Dorothy Short, Lillian Miles, Dave O'Brien and Thelma White.

Originally intended as a cautionary anti-marijuana morality tale and financed by a church group under the title Tell Your Children, the movie was acquired by exploitation film-maker Dwain Esper who was looking to capitalise on the hysteria surrounding cannabis use in the U.S. at the time (see 1937 Marihuana Tax Act).

Reefer Madness begins at a P.T.A meeting, where parents are being lectured on the dangers of cannabis use, and the tragic events that occured when a group of high-school students were lured into the murky world of "reefer" cigarettes. The narrative then switches to the students whose addictions ultimately lead to chaos, committing hit-and-run, rape, manslaughter and suicide as they all lose control.

Although the movie did not find an audience upon release it re-emerged in the 1970's, gaining popularity among cannabis-users and college students who viewed the film as a comedy with it's cheap production values and exaggerated acting and plot-lines. Having achieved cult-status, there is much for contemporary audiences to enjoy in Reefer Madness.



Embed courtesy of Internet Archive.

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Hitchcock DVD Giveaway - NOW CLOSED

Classic Hitchcock movies up for grabs, absolutely free! (Sorry - this giveaway is now closed).

We're giving away two of the Master's Greatest works on DVD, and if you'd like to get your hands on one all you have to do is leave a comment / email us saying which one you'd prefer - it couldn't be easier!

Strangers on a Train (1951), starring Farley Granger and Robert Walker.

North by Northwest (1959) starring Cary Grant and Eva Marie Saint.

The two lucky winners will be picked at random on Tuesday 31st March.

Please note that the DVDs are European Region 2 so make sure they're compatible with your player if you aren't from the U.K.

While you're at it, why not vote in our new Hitchcock poll?

The Prize Finder - UK Competitions
Loquax Competitions

Advertising Standards Agency Bans Angelina Jolie TV Ad

The British Advertising Standards Agency has banned an advert promoting the DVD release of the Angelina Jolie / James McAvoy action film Wanted, suggesting it breaches the standards of their television code.


The A.S.A. had originally ruled that the advert should run only after the 9pm watershed, but after receiving one solitary complaint they now feel the content is "inappropriate to be seen by older children because it could be seen to condone violence by glorifying or glamorising the use of guns".

Universal Studios, the company behind the movie, countered that similar trailers featuring male actors had not been restricted in such a fashion, and claimed that the Agency had taken exception as they "did not like to see a woman in a strong lead role, rather than concerns about violence".

If the film is such a danger to British children, why not just ban the movie outright and be done with it?

It will be interesting to see how the Advertising Standards Agency handles upcoming films such as G.I. Joe: Rise of Cobra, which is clearly aimed at a much younger audience.

Source - Sky News

John Wayne: World War II Propagandist

Santosh Sandhu profiles the career of silver-screen legend John Wayne and examines the influence of World War II on his body of work...

John Wayne (1907-1979) was the very embodiment of everything America would like to be. Jingoistic, brave, forthright and a fierce defender of the American way of life. After shooting to fame playing supporting characters in B-Movie westerns, he was initially cast as a leading man in Stagecoach (1939) which would see the emergence of the screen persona he would inhabit for the rest of his career. This also signaled the beginning of a long lasting relationship between the actor and director John Ford. Often depicting an everyman oppressed by authority, Wayne would come into his own having to do what was right for himself and those depending on him.

Wayne would spend the war years making patriotic movies such as The Fighting Seabees (1944) and Back to Bataan (1945). Unlike some of his fellow actors who signed up for active service including John Ford who made the documentaries The Battle of Midway(1942) and December 7th(1943), Wayne never did fight in the war, having been refused due to his wife and children. Instead Wayne served his country via his movies in which he often played a similar character, mainly the typical American hero with a clear set of morals and democratic principles. His films would feature stirring music, dialogue and credit sequences that pretty much explained a film to the audience so they were in no doubt as to the ‘message’ of the film. John Wayne and the other Americans were portrayed as brave men doing what their country required of them regardless of the sacrifice.

Such patriotism was reminiscent of Wayne’s right wing political beliefs and his strong anti-communist sentiments. A fierce supporter of the McCarthy witch hunts of the 1950s, Wayne managed not only to distance his former colleagues but also John Ford, who suggested greater diplomacy was required when dealing with members of the film community. Whilst Ford was also an anti-communist he strongly distrusted the tactics of McCarthy whose blacklisting resulted in the destruction of many lives and careers.

Ford’s westerns Stagecoach and The Searchers(1956) had originally been seen as racist and disrespectful to Native Americans who were portrayed as nothing more than blood thirsty savages. Later in his career Ford did attempt to reconcile this by making more liberal films such as Sergeant Rutledge(1960) about a black cavalry officer wrongly charged with rape and murder and Cheyenne Autumn(1964) about a journey made by a group of Indians to the land of their forefathers. Wayne however never did make a film which contradicted his original stance. He made crude comments about Native Americans and the black community and was against the civil rights movement. His directorial effort The Alamo(1960) was a thinly disguised attack on communism.

During the Vietnam War, Wayne thought of South Vietnam as a brave little country protecting itself against the evils of communism and it was America’s duty to intervene. Using the same storytelling techniques established in his World War II movies, Wayne made The Green Berets(1968) which promoted US involvement in the Vietnam war. The film featured a group of US soldiers trained to go on a dangerous mission with a doubting journalist soon converted to accept the nobility of this war effort. Wayne's friendship in the film with a Vietnamese boy laid on the sentimentality and manipulation. Wayne’s attitudes were therefore dismissed as severely right wing and out of touch.

The film was made with a total disregard to the civil rights movement and anti war protests which were so widespread in America at the time. It was obvious that Wayne deplored such anti-establishment sentiments and chose to disregard them entirely. His feeling that the American government should always be supported in whatever it does did not reflect the sentiments of the public. Whilst the film did make money at the time, today it is rightly regarded as an embarrassment due to its over simplification of a contentious issue. Wayne’s comments gave scant consideration to the napalming of innocent civilians and the drafting of young American soldiers mainly from ethnic minorities into a war they knew nothing about. Whilst John Ford only ever saw himself as a film director, Wayne often aspired to be something more.

Santosh Sandhu graduated with a Masters degree in film from the University of Bedfordshire and wrote the short film 'The Volunteers'.

British Cinema - Dead Man's Shoes (2004)

Dead Man’s Shoes, 2004.

Directed by Shane Meadows.
Starring Paddy Considine, Gary Stretch and Toby Kebbel.

SYNOPSIS:

Richard, an intense loner and former soldier, returns to his native Midlands village seeking vengeance against the small-time drug dealers who cruelly bullied his mentally disabled brother Anthony while he was away on duty. Richard’s determination to achieve a full and brutal revenge results in an ominous conclusion to the street criminals who toil unsuccessfully to avoid his wrath.

Shane Meadows secured his position as Britain’s brightest new director with this haunting revenge tale which enthrals the viewer from beginning to end, using severe violence and disgustingly inhumane behaviour from characters each side of the conflict. Co-written by director Meadows and lead actor Considine, the opening line from Richard (Considine) reads “God will forgive them. He'll forgive them and allow them into Heaven. I can't live with that." This sets the scene for the entire film, a simple but compelling story of revenge in which the viewer finds himself sympathising with a seemingly psychotic serial killer as his mental state deteriorates in front of our eyes.

Released a year after Kill Bill: Vol. 1 (2003) and the same year as Kill Bill: Vol. 2 (2004), Dead Man’s Shoes incorporates many of the same themes and the plot develops similarly. The avenger as our lead protagonist - intent on revenge and mass-murdering their former wrongdoers - is common across these films, with the viewer somehow finding themselves sympathising with the brutality. There are however stark contrasts between the films, differences which ensure that to my mind, Dead Man’s Shoes must be considered a superior film. Tarantino’s style-over-substance, enormous-budget melodrama is in direct opposition to Meadows’ low-budget kitchen-sink thriller, which focuses on character relationships over stylistic content. These complicated relationships include Richard’s love and care for his younger, mentally disabled brother Anthony, an innocent but kind simpleton, as well as flashback scenes which demonstrate Anthony’s prior involvement with the local petty crooks.

Although Dead Man’s Shoes may be considered a melodrama, this does not detract from the intelligence of Meadows’ work. A film which demonstrates several gruesome murders as acceptable must be considered advanced, with the movie exuding a constant haunting nature, from the black and white flashback scenes (a technique often used by Meadows) to Richard’s now seemingly extinct army gas mask. Considine’s performance as the lead character Richard is as strong as it can be and Toby Kebbell gives a superb performance as the mentally challenged Anthony, unfathomably in his first film role. His performance might not equal the world-class depictions of a mentally challenged character such as Dustin Hoffman in Rain Man (1988) or Sean Penn in I am Sam (2001), but nonetheless is still extremely touching, vulnerable and most importantly, believable (with Kebbell recognised as Most Promising Newcomer at the British Independent Film Awards).

Overall this film is a stunning achievement by Meadows; an underrated thriller which deserves its place among the best of contemporary British cinema. It is a must see for all Brits with a love for film but still transcends to a wider audience because of its easily communicated themes. It is low-budget British filmmaking through and through with a gritty, realistic style that leaves audiences hoping Meadows stays this side of the Atlantic for many years to come.

Rory Barker

Related:

British Cinema: Somers Town (2008)
British Cinema: Le Donk & Scor-zay-zee (2009)
A Time to Belong - This is England and the subversion of the skinhead

UK Box Office Top Ten - weekend commencing 13/03/09

UK box-office top ten for the weekend of Friday 13th - Sunday 15th March 2009.

The Owen Wilson / Jennifer Aniston canine comedy Marley & Me stormed to the top spot in it’s debut weekend with receipts of £4,414,169 - over £3m more than the underwhelming Watchmen, which slipped into second ahead of Gran Torino.

Best Picture winner Slumdog Millionaire remains strong in fourth position, itching ever closer to the £30m mark in it’s tenth week of release. The Young Victoria, Bolt, Confessions of a Shopaholic, The Unborn, and Hotel for Dogs all dropped one place, while British crime-thriller Bronson sneaked into the chart with a weekend opening of £258,360.

Pos.	Film	Weekend Gross	Week	Total UK Gross
1	Marley & Me	£4,414,169	1	£4,414,169
2	Watchmen	£1,400,352	2	£6,181,099
3	Gran Torino	£818,576	1	£5,692,214
4	Slumdog Millionaire	£755,379	10	£29,603,451
5	The Young Victoria	£633,870	2	£2,566,145
6	Bolt	£474,791	5	£17,256,355
7	Confessions of a Shopaholic	£425,631	4	£7,667,618
8	The Unborn	£389,948	3	£3,370,673
9	Hotel for Dogs	£283,755	5	£6,504,627
10	Bronson	£258,360	1	£258,360

With a couple of notable releases this coming Friday look for a bit of a shake-up in next weekend's chart. Marley & Me will be hoping to cling on to first place but will face stiff competition from U.S. smash hit Paul Blart: Mall Cop.

Meanwhile, Brit comedy-horror Lesbian Vampire Killers will also look to stake a claim in the market (dear me!), and should manage a top-five debut.

Matt Damon is Bourne Again

Matt Damon (briefly) discusses the status of the next Bourne movie.


Yahoo News are reporting that Matt Damon has confirmed his and director Paul Greengrass' involvement in a fourth instalment in the Jason Bourne franchise, although it might be some time before the character returns to the screen.

The movies, based on Robert Ludlum's bestselling spy novels, have made an action star out of Damon and another sequel has been rumoured since the release of the third film, The Bourne Ultimatum in 2007.

It was speculated that the next adventure would be based on another Ludlum book, The Parsifal Mosiac, although Damon appears to debunk this, telling Parade Magazine, "We're working on it. This time it would be from an original script rather than a book by Robert Ludlum, but the director Paul Greengrass is busy and I am too, so we'll see what happens."

It will be interesting to see how they can take the character forward given that they've fully explored the amnesia storyline already. I would hope they could come up with something more original than a prequel, but I'll be looking forward to the film regardless.

It's a Wrap - Marvel Movings, Expendables Expandings, and G.I. Joe Oh-Nos!

It's a Wrap - Marvel happenings, Expendables casting, Drag Me To Hell trailer, and new pictures from Alice in Wonderland and G.I. Joe: Rise of Cobra.


Marvel are looking to capitalise on the current boom in superhero pictures with an upcoming slate that's starting to mirror their print publication schedule. Samuel L. Jackson recently signed up to reprise his role as super-spy Nick Fury in a nine-picture deal (including Iron Man II, Thor, Captain America, and The Avengers), while they also have a hand in the fourth instalment of the Spider-Man series, which has been given a release date of May 6th, 2011.

This week Marvel announced delays to a number of their in-house properties, pushing Thor back to June 2011, The First Avenger: Captain America to July 2011, and superhero ensemble The Avengers to May 2012.

A spy report from AICN revealed some interesting titbits about Marvel’s upcoming projects. Apparently, Alexander Skargard and Josh Hartnett are favourites to appear as Thor and his villainous brother Loki in Kenneth Branagh’s hammer-wielding Norse god epic, while director Jon Favreau is hotly tipped to helm The Avengers. Favreau is about to start photography on Iron Man II - with Mickey Rourke finally confirmed as Russian baddie Whiplash, alongside Robert Downey Jr. who reprises his role as billionaire industrialist Tony Stark - and he has often spoke of his desire to direct the big-screen team-up.

AICN’s report also claims that reboots to Daredevil and Fantastic Four are currently under consideration. Fox needs to keep making installments in these franchises to avoid the rights reverting back to Marvel, and while I could see the potential in a Daredevil reboot I think that, in the case of Fantastic Four, a new director could take the series forward without having to ignore the established continuity (okay, minus Galactus).

Looking at Marvel's upcoming slate it’s likely that Iron Man II, Captain America, The Avengers and Spider-Man 4 will all be sure-fire box-office hits, although I can’t imagine Thor breaking too many records. In any rate, given their substantial investment Marvel will be hoping that the comic-book-to-screen bubble doesn’t burst any time soon.

Meanwhile, Sam Raimi (director of the Evil Dead and Spider-Man trilogies) has debuted the new trailer for his return to the horror genre, Drag Me To Hell. It'll be interesting to see how this stands out in the current remake-centred horror marketplace, and the trailer certainly looks promising. Raimi himself is currently attached as producer on the mooted remake of his own classic The Evil Dead, after fulfilling similar duties on the American version of The Grudge.

Check out the Drag Me To Hell trailer:



Sylvester Stallone’s next film, the testosterone-fuelled, balls-to-the-wall actioner The Expendables, continues to gather a solid ensemble cast that reads like a ‘who’s who’ of action stars. In addition to Stallone (who also serves as writer and director), the film will also feature Mickey Rourke, Jet Li, Jason Statham, Dolph Lundgren, Forest Whitaker, Eric Roberts, Danny Trejo and UFC legend Randy Couture, along with a cameo appearance by Arnold Schwarzenegger. This week Variety confirmed that former WWE star ‘Stone Cold’ Steve Austin has been added to the cast, along with Charisma Carpenter who will – presumably - need rescuing on more than one occasion.

Finally, some interesting images have cropped up online this week. Tim Burton fans will be excited to see the first image of the title character from Alice in Wonderland (along with some nice concept art) courtesy of The Tim Burton Collective...


...while Topless Robot provided the first look at the masked version of Destro from G.I. Joe: Rise of Cobra.


Ouch. Let’s hope they’re still working on that.

Classic Movies - Psycho (1960)

Psycho, 1960.

Directed by Alfred Hitchcock.
Starring Anthony Perkins, Janet Leigh, Vera Miles and John Gavin.


SYNOPSIS:

After embezzling $40,000 from her employer, Phoenix office-worker Marion Crane flees the monotony of her mundane existence with dreams of starting a new life in California with her boyfriend, Sam Loomis. As night begins to fall, an exhausted Marion decides to spend the night at a remote motel owned by Norman Bates, a peculiar, reserved young man under the control of his ailing but domineering mother.

By the end of the 50’s, Alfred Hitchcock had cemented his Hollywood legacy as the ‘Master of Suspense’, churning out such classics as Strangers on a Train (1951), Rear Window (1954), Vertigo (1958), and North by Northwest (1959). However, it is 1960’s Psycho – written by Joseph Stefano and based on the novel by Robert Bloch – in which Hitchcock’s taste for the macabre truly shines. From the opening bars of Bernard Herrmann’s theme to the film’s climatic revelation, Psycho drags the audience through a gripping roller-coaster of twists and turns unlike anything that had came before.

As the movie begins we are introduced to Marion Crane (Janet Leigh), a young office worker embroiled in a love affair with Sam Loomis (Gavin), a California based store owner and recent divorcee. We learn that Marion longs to be with Loomis but because of his alimony payments and poor financial situation they are forced to remain apart. However, when Marion is entrusted with depositing $40,000 in hard cash on behalf of a lecherous client of her boss, she sees an opportunity to create a future for herself and Sam. Deciding to steal the money, Marion flees Phoenix and embarks upon a cross-country drive to reunite with her lover, until fatigue sets in and she happens upon a decrepit old motel with en-suite facilities.

While the first act of Psycho deals with Marion’s crime, the narrative is truly set in motion upon her arrival at the Bates Motel. Her subsequent encounter with the owner, Norman Bates (Perkins, in his career-defining role), has become the stuff of movie legend. Bates – dividing his time between running the motel, caring for his mentally disturbed mother, and a morbid fascination with taxidermy – finds himself captivated by the young woman. However, as with Strangers on a Train, Hitchcock’s representation of the mother-son relationship is anything but conventional. Seeing Marion as a corruptive influence on her son, mother takes matters into her own hands, brutally murdering the lead character in the iconic “shower scene”. This expertly-crafted montage – accompanied by Herrmann’s chilling score – is an unrivalled thrill of cinematic brilliance that shows Hitchcock at the very peak of his art.

After Marion’s demise attention shifts towards the investigation into her whereabouts, led by private detective Milton Arbogast (Martin Balsam), along with Marion’s sister Lila (Miles), who has launched her own search with Sam. Tracing Marion to the Bates Motel, Arbogast confronts a suspicious Norman and attempts to interview mother, much to Bates’ refusal. Passing this information onto Sam and Lila, Arbogast returns to the motel and ventures into the Bates house-hold where his search for mother comes to an abrupt and violent conclusion. Sam and Lila notify the local sheriff following Arbogast’s disappearance and – after learning that Mrs. Bates has been dead for ten years – they pay their own visit to the motel and uncover the shocking truth behind Norman and his web of deception.

Shot on a modest budget and filmed entirely in black and white with the crew from his television series, Psycho was Alfred Hitchcock’s attempt to reinvent himself as a filmmaker. It accomplished this and much more. Psycho is a innovative masterpiece that breaks with convention at every opportunity. Drawing heavily on the novel’s structure, Psycho’s multi-layered narrative is explored through several character perspectives, and while Marion’s early death is present in the book, the decision to kill off the film’s protagonist – and indeed the largest box-office name in Janet Leigh – was unthinkable to audiences of the time. But this merely serves to draw us into the true story of the complex and disturbed Norman Bates, for which Anthony Perkins is exemplary in the role(s).

From the opening scene depicting the scantly-clad bodies of Marion and Sam to the unprecedented levels of violence, Psycho was notable for disregarding many of the Hollywood taboos of the time. Highly influential, it’s success led to the blood-soaked ‘slasher’ and ‘splatter’ genres that would follow in it’s wake, paving the way for classics such as Night of the Living Dead (1968) and The Texas Chain Saw Massacre (1974), along with countless sub-par imitations and low-budget ‘gore-fests’. Despite the film’s advancing years, Psycho remains a chilling and unsettling experience that easily stands above many of today’s thrillers. It is a fine example of Hitchcock at his very darkest and his best, displaying a level of technical quality synonymous with his body of work and featuring a haunting musical score and fine performances all round. A true classic; this is highly recommended, essential viewing.

Gary Collinson

TV Special - Star Wars Live-Action Titbits and Musings

Following the success of Star Wars: The Clone Wars CGI-animated series, executive-producer George Lucas is gearing up towards a new live-action series and information is starting to trickle online.


Lucas has previously confirmed that the live-action show takes place during the gap between Episode III: Revenge of the Sith and Episode IV: A New Hope, and will focus on minor characters such as fan-favourite Boba Fett, described by producer Rick McCallum as “instrumental” to the series.

This week MTV dropped some information about the project, suggesting that Lucas plans to centre the series around the early days of the Rebel Alliance and their struggles with the Empire (if the Rebels celebrate their first victory just prior to the opening crawl of Episode IV, this might turn out to be a pretty one-sided affair).

The article also notes that, as with The Clone Wars, Lucas intends to produce a seasons worth of episodes before seeking distribution, and while promoting her new film Knowing, actress Rose Byrne (Dorme from Episode II – Attack of the Clones) has let slip that casting for the new series is now officially underway. With a planned arrival of 2010, we should be hearing a lot more over the coming months as pre-production heats up.

Despite the awful theatrical release of The Clone Wars, I have personally found the TV series to be an entertaining, mindless waste of 25 minutes each week and there are certainly far worse shows on the air. Hopefully Lucas will look to involve a range of creative talent who can bring something extra to the show, and it will be refreshing to see a shift away from lightsaber-wielding acrobatics to the more character-driven approach of the Original Trilogy.

I have to say that while I'm cautiously optimistic about the possibilities for the new series at present, it could also easily prove to be the final nail in the Star Wars coffin. It should be very interesting to see how this all develops, and if nothing else it provides something to dissect, flame and complain about for the next few years.

* * * * *

We'd love to hear your thoughts on the new series (or The Clone Wars, or the films!), so please feel free to comment.

UK Box Office Top Ten - weekend commencing 06/03/09

UK box-office top ten for the weekend of Friday 6th - Sunday 8th March 2009.

Watchmen jumps straight into the top spot on it’s opening weekend here in the U.K., gaining a healthy £3,243,001 across 419 screens. Watchmen knocked Slumdog Millionaire into second, with the Danny Boyle-directed Best Picture winner holding strong in it’s ninth week and pushing towards £30m in domestic receipts.

The week’s other notable new release, The Young Victoria, opened in fourth behind third-placed Clint Eastwood crime drama Gran Torino, while The Curious Case of Benjamin Button and New in Town both slipped out of the top ten.

Pos.	Film	Weekend Gross	Week	Total UK Gross
1	Watchmen	£3,243,001	1	£3,243,001
2	Slumdog Millionaire	£1,289,094	9	£28,173,584
3	Gran Torino	£1,216,106	3	£4,253,980
4	The Young Victoria	£1,016,053	1	£1,016,053
5	Bolt	£978,954	4	£16,666,430
6	Confessions of a Shopaholic	£977,441	3	£6,845,514
7	The Unborn	£749,898	2	£2,677,249
8	Hotel for Dogs	£569,802	4	£6,184,031
9	The International	£423,358	2	£1,632,035
10	He's Just Not That Into You	£317,588	5	£9,021,872

This week’s upcoming releases:

Ayan
Bronson
Hush
Marley & Me
The Burning Plain
The Horseman

The Owen Wilson / Jennifer Aniston comedy Marley & Me will be hoping to repeat it’s box-office success across the pond, having collected over $140m in the U.S. It should challenge Watchmen for the top spot but advance screenings Wednesday and Thursday will cut into it's weekend gross.

Also, look for Bronson, the British biopic of notorious criminal Charles Bronson (not that Charles Bronson), to break into the top ten.

It’s a Wrap – Chuck Norris Watches The Watchmen

It's a Wrap - featuring Watchmen’s opening weekend, talk of a Missing in Action remake, and worrying times for Blockbuster.


The long awaited movie adaptation of Watchmen hit screens on Friday, opening in the top spot in the U.S. with $55.5m over the three-day weekend. Despite this being the largest opening so far in 2009, analysts had expected Watchmen to surpass director Zack Snyder’s previous effort 300, which grossed $70.9 million on the same weekend in 2007.

This might be seen as a disappointment but Watchmen has a longer running time than 300 and positive reviews and repeat business should see the film turn a healthy profit during it’s theatrical run.

In other box-office news, Best Picture winner Slumdog Millionaire continues to attract a strong audience and has now pulled in over $220m world-wide. Meanwhile director Danny Boyle has moved to squash rumours that he will helm the 23rd instalment in the Bond franchise, announcing through a spokesperson that while he is a fan of the films he has no intention of ever directing one.

Check back tomorrow for the latest U.K. Box Office Top Ten here at FlickeringMyth.com.

WWE Studios, the feature film arm of Vince McMahon’s sports entertainment empire, has announced it will produce a remake of Chuck Norris 80’s actioner Missing in Action, updating the film to a modern, middle-east setting. No word yet on who'll be donning the beard as Colonel James Braddock.

WWE Studios have released three movies headlined by their in-house wrestlers - See No Evil, The Marine, and The Condemned - and their fourth effort, the John Cena-starring 12 Rounds, arrives later this month. I personally found The Marine to be an atrocity but The Condemned had it’s moments and WWE should have the potential to carve a strong share of the direct-to-DVD action market, considering their flash production values and existing audience.

However, with an upcoming slate consisting of The Marine 2 and the newly announced Chuck Norris remake, I wonder if the creative talent at WWE Studios is already Missing in Action (sorry). Oh, and remember what happened the last time WWE employees crossed Chuck:



Finally, there’s been talk this week that rental giant Blockbuster is exploring the possibility of bankruptcy. The migration of customers towards online downloads and mailed rentals is said to have left Blockbuster falling behind, and surely it would mark the death-knell for the video rental store if the chain were to fold.

I for one hope that the company can turn itself around, or where would I get my steady supply of ex-rentals??