Anne Thompson reported earlier today that there’s a faint chance that Werner Herzog‘s Rescue Dawn, an action drama of sorts about an American pilot (Christian Bale) who escapes from a POW cap in the early days of the Vietnam War, may not make not make its scheduled dates at the upcoming Toronto International Film Festival due to last-minute post-production snags. In Telluride a distributor told Thompson that “he had screened and liked the movie, but the film was so tied up with multiple producers and accounting issues” — the cause of many of these problems being the finagling of producer and L.A. club owner Steve Marlton — “that it would be difficult to negotiate a sale.”

Variety‘s Todd McCarthy is basically saying “I don’t think so” as far as Steve Shainberg‘s Fur: An Imaginary Portrait of Diane Arbus (Picturehouse, 11.10) is concerned. I’m sorry but that’s the gist, more or less. That and an apparent observation that Nicole Kidman, playing Arbus with brunette hair coloring, gets naked in it.

Variety‘s Nick Vivarelli has run a quote from “one French industryite” in response to the Venice Film Festival showing of Oliver Stone‘s World Trade Center. The quote is that the film is “disgusting …it was as though George Bush directed the movie.”

I scoffed when I heard that a woman from one of the entertainment news shows had flipped over Emilio Estevez‘s Bobby (Weinstein Co., 11.17). And I’ve written a couple of pieces expressing doubts about the likelihood that it’ll be good-good-good. (Here’s one.) But now a fellow journo-columnist has seen it and likes it a lot, and Variety‘s Deborah Young has given it a pass out of Venice so okay, maybe.
I can’t help having an attitude about it (I keep hearing that Estevez quote from John Ridley’s Esquire piece — “Checkmate, asshole!”), but at least I have higher hopes for it than, say, All The King’s Men.
This Mike Collett-White Reuters piece about Bobby‘s debut at the Venice Film Festival errs, however, in saying the film is Estevez’s “first feature film in 10 years.” He directed, wrote and starred in Rated X, his Mitchell Brothers movie, six years ago. It was a Showtime movie that didn’t go out theatrically, but it would have gone in theatres if the right distribution deal had come along. I think it’s wrong to say it wasn’t a feature — it was shot as one, and was orginally intended to be seen in theatres…it just happened to wind up on Showtime.

Darren Aronofsky‘s The Fountain had some rough going at the Venice Film Festival. Somebody wrote that it’s a yea-nay, hot-or-cold proposition, so presumably others will come along who felt as I did after catching it in San Diego in late July.
I called it “the most beautiful and best-crafted cosmic head-trip movie since I don’t know what. 2001: A Space Odyssey? Fight Club? The first half of Altered States?” And I said that “for a movie with Hugh Jackman and Rachel Weisz playing three characters each in three different eras (the 1500s, the present and the 24th Century), it’s remarkably easy to sort through and make sense of.
“You have to let The Fountain seep into you like any great book or perfectly brewed cup of tea, and you have to seep yourself into it also, but it’s an extraordinary place to go to and then return from….like a planet unto itself. It’s one of those films that takes a little seasoning to appreciate. Anyone who’s ever tripped on anything will definitely respond, mature educated types will like it more than typical 20-something hormonals, and women will probably like it more than guys who watch football and smoke cigars and drive SUVs.”

It was 9:30 pm and Viacom CEO Tom Freston was in a good mood, sipping a beer and playing pool and applying chalk to the tip of his stick when all of a sudden…whack! Someone clobbered him with the blunt end of another pool cue. Freston’s eyes rolled into his forehead, his legs gave out and a second later he was on the floor and out cold. The upshot is that the poor guy’s out of a job. Freston’s former boss, the always assertive Viacom chairman Sumner Redstone, made the call because of “a weak stock price and increasing questions about the company’s online strategy,” according to a Wall Street Journal report. The 83 year-old Redstone replaced Freston with “personal adviser” Philippe Dauman; he also rehired a former lieutenant, Thomas Dooley, as exec vp and chief administrative officer. The shakeup “bore striking similarities to a similar executive overhaul at Viacom in 1996”, the Jounal story says.

In a “Big Picture” column piece about how Gridiron Gang director Phil Joanou has put demons and career disappointment behind him, L.A. Times guy Patrick Goldstein mentions that Joanou’s Entropy, “an autobiographical film” that was finished in ’99, went straight to video, implying it was a piece of shite.
What Goldstein perhaps should have mentioned is that this low-budget effort, in which Stephen Dorff plays a smart, obsessive, emotionally torn filmmaker precisely modelled on Joanou, is an above-average, not-half-bad film. People on the skids tend to take any work they can get, and there’s no doubt that six or seven years ago Joanou was grappling with a cloudy rep and having trouble getting choice film-directing jobs, and yet he made a fairly interesting piece about his own screwed-up career and love life, in what seemed to me like extremely frank terms.

On the other hand, the Hollywood Reporter‘s Ray Bennett says that Alfonso Cuaron‘s Children of Men is “a gripping new thriller [that] takes the classic movie formula of a cynical tough guy required to see an innocent party to safe harbor, and shoots it to pieces .” Succeeding “both as a thriller and as a satisfying political and social drama, it should prove a winner at the boxoffice in all territories.” Bennett also notes that star Clive Owen “carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down. Cuaron and Owen may have created the first believable 21st-century movie hero.” Flip-flops? Does he also wear a fanny-pack belt?

Miami Vice was a financial slapdown for Universal — it hurt and it stung — and L.A. Times writer Lorenza Munoz examines the details. Michael Mann‘s undeniably entrancing crime pic cost at least $235 million to make and market, and pulled in a lousy $63 million theatrically in this country…not good. “The studio underestimated the inherent challenges of translating ‘Miami Vice’ to the big screen,” Universal chairman Marc Shmuger tells Munoz. “As a commercial proposition, it had a familiar title but not a really deeply appealing connection to the larger audience.”
And then there’s the beef about talent getting overcompensated. “The biggest winner in the case of Miami Vice could be Mann, who will make at least $6 million, plus a percentage of the box-office receipts, before Universal makes a dime, according to people familiar with his deal,” Munoz reports. Miami Vice is symptomatic of a malaise in the industry,” media analyst Harold Vogel contends. “The industry is undergoing a transition in terms of business models. For the first time in many years, they are encountering strong head winds against whatever they throw up against the screen.”