Before 2008 begins, a Cloverfield statement for the ages. I’m not saying the following will happen or that it needs to happen, but the highest expression of the Cloverfield idea would be to never show the beast. A bringer of horror and havoc that doesn’t finally exist except in our heads. There’s a way for a movie like this to be done right — all omens and tremors and chaos-around-the-corner — and if it was nailed just so, it could be beautiful. But of course, there’s the moronic-masses factor to consider. 97% of the mob out there would revolt if Cloverfield played this way. JJ Abrams obviously (a) knows this and (b) wants to stay flush and keep crankin’ out the Big Dreams, so that’s the end of that tune.

I’m dying to see J.J. Abrams‘ Cloverfield. That’s all that matters now….for the next few days. Forget the awards season, forget the strike. It’s all Cloverfield, Cloverfield, Cloverfield…the ultimate 9.11 flashback freakout movie of early ’08.

A famous Manhattan armageddon shot from When Worlds Collide

“After 9.11, we all thought this was going to be a verboten practice, that no one would ever dare show New York being attacked again in movies,” says James Sanders, the author of “Celluloid Skyline,” about the history of New York in movies, in a 12.26 N.Y. Times “City Room” piece by Sewell Chan.
Thing is, the Manhattan skyline “is too much of a ‘global shorthand’ for filmmakers to hold off,” Sanders explains.
“What would be the point of showing a demolished suburban street? You’d get the point but it just wouldn’t have the punch. You take the most familiar, iconic symbol of civic society in the world — a big city, and for Americans, that’s New York — and that’s where disaster is going to be the most powerful.” He added that New York serves as a yardstick — what architects would call a scale — that illustrates the magnitude for a disaster.”

Getting into a car, heading for Connecticut…no action for the next four or five hours.

A PDF of Paul Thomas Anderson‘s There Will Be Blood script (i.e., one that doesn’t reflect the precise coloration of the Lebowski ending) is still up. Move fast.

The Envelope‘s Tom O’Neil is reporting that pirated copies of Oscar contenders like The Great Debatersand The Bucket List showed up online before opening in theaters. He then did some snooping around about when Oscar voters got their last DVD screeners. Sweeney Todd arrived on Christmas Eve, apparently — two days before Oscar ballots are shipped on 12.26.

Fantasy Moguls‘ Steve Mason has posted some 12.25 figures: National Treasure: Book of Secrets, $14.75 million and a 5-day holiday total of $14.75 million. Alien vs. Predator: Requiem, $9.48 million. I Am Legend, $8.85 million. Alvin and the Chipmunks, $6.66 million. Charlie Wilson√ɬ¢√¢‚Äö¬¨√¢‚Äû¬¢s War, $4.16 million. The Great Debaters, $3.49 million. Sweeney Todd, $2.82 million. The Bucket List (NY & LA) with a $10,000-plus per-screen average.

Rob Reiner‘s The Bucket List (Warner Bros., 12.25), the Jack Nicholson-Morgan Freeman movie about dying from cancer but also getting to fly around the world in a private jet, has been flunked by the Rotten Tomatoes chorus. It managed only a 48% positive (and if you read the presumably positive red-tomato reviews you’ll realize they’re half-and-halfers at best).
Best slam quotes: (1) “Any moron can make a bad movie, but it takes a special breed of schemer to make a picture as shameless as The Bucket List — Salon‘s Stephanie Zacharek; (2) “It”s a picture about two cancer patients confronting reality, and deciding how they want to spend their presumed last days, that has not an ounce of reality about it…Ikiru for meatheads” — Variety‘s Todd McCarthy; and (3) “Hollywood rarely makes movies about the dying wishes of poor people, since that might actually teach something about life lived to the fullest without global traveling…seeing this movie is not something you need to do before you die.” — Metromix‘s Matt Pais.
I’ve said before I don’t think it’s awful — its just tired and perfunctory. It wouldn’t have been made if Warner chief Alan Horn hadn’t given the green-light, which was primarily based on his long friendship with Reiner. (It doesn’t make him look very sage as he prepares to surrender administrative power to Jeff Robinov.) I will say that the CG shot of Nicholson and Freeman sitting on one of the great Egyptian pyramids struck me as half-decent, except for the closeups.

Another strong indication that the WGA strike is going to drag on and on and that the Golden Globe and the Oscar award telecasts are more or more likely to be unscripted and shorn of strike-honoring movie stars has come from Deadline Hollywood Daily‘s Nikki Finke in a 12.24 posting:
“The CEOs are deeply entrenched in their desire to punish the WGA for daring to defy them by striking and to bully the writers into submission on every issue, and [think] that the writers are sadly misguided to believe they have any leverage left.
“I’m told the CEOs are determined to write off not just the rest of this TV season (including the Back 9 of scripted series), but also pilot season and the 2008/2009 schedule as well. Indeed, network orders for reality TV shows are pouring into the agencies right now. The studios and networks also are intent on changing the way they do TV development so they can stop spending hundreds of millions of dollars in order to see just a few new shows succeed.
“As for advertising, the CEOs seem determined to do away with the upfront business and instead make their money from the scatter market. I’m sorry to break this disappointing development right before Christmas, but I pledged to stay objective in my reporting and I can’t ignore this major news development. The truth often hurts. But don’t blame the messenger. And, no, this info wasn’t dumped in my lap, either. (That only happens over at Variety or the Los Angeles Times…).”

“There’s subtlety, and then there’s invisibility. Charlie Wilson’s War director Mike Nichols offers us champagne-sparkle charm and whimsy and aw-shucks hijinks. If a film really wants to tackle the covert actions of the Cold War and their long-term consequences, it needs to provide short sharp shots of truth as raw as whiskey, one after the other. [Instead] we get the buzzy, boozy, bonhomie of Charlie’s crusade.

“What Nichols has done is eliminate the historical hangover of unintended consequences. Charlie Wilson’s War is timid where it should be reckless, clever where it should be cutting, funny where it should be fierce.” — from James Rocchi‘s 12.21 Cinematical review.

The trend of more and more movies being made digitally is, according to a 12.23.07 N.Y. Times story by Michael Cieply, a storage problem. Key sentence: “Suddenly the film industry is wrestling again with the possibility that its most precious assets, the pictures, aren’t as durable as they used to be.”
It’s all there in dollars and cents, Cieply says, in a study called “The Digital Dilemma” that was released last month. The subject is the digital archiving of movies, written by the science and technology council of the Academy of Motion Picture Arts and Sciences.
“Busy walking, or dodging, the picket lines, industry types largely missed the report√ɬ¢√¢‚Äö¬¨√¢‚Äû¬¢s startling bottom line,” he writes. “To store a digital master record of a movie costs about $12,514 a year, versus the $1,059 it costs to keep a conventional film master.
“Much worse, to keep the enormous swarm of data produced when a picture is ‘born digital’ — that is, produced using all-electronic processes, rather than relying wholly or partially on film — pushes the cost of preservation to $208,569 a year, vastly higher than the $486 it costs to toss the equivalent camera negatives, audio recordings, on-set photographs and annotated scripts of an all-film production into the cold-storage vault.”

I missed this idea from Ironicsan’s David Friedman when it was first posted on 12.4.06, but it’s a seriously cool idea that Tokyo’s city fathers should absolutely run with: “The people of Tokyo should construct a giant building shaped like Godzilla. Imagine what it would do to the city’s skyline, and to the tourism industry. People would come from all over to take pictures.

“His eyes could flash red so airplanes don’t hit him. There could be an observatory in his mouth so people could look out over Tokyo. One of his arms could house a bar, and the other arm a restaurant. They could serve drinks called Mothra Martinis and dishes like Grilled Gamera Steaks, with a side of mashed potatoes.
“And conversations could take place like this one (translated from Japanese):
“‘Hey, I just got a new job!’
“‘Oh, really? Where do you work?’
“‘You know the Godzilla Building? I’m just a couple blocks south of there.’

“Or maybe it could be partially residential. And then people could talk about that famous artist who used to live in the Godzilla Building in the apartment right above Godzilla’s left nipple. And then they could argue over whether or not Godzilla even has nipples.”
Of course, being a reptile, he doesn’t.

One of the finest opening paragraphs in the history of movie reviewing came from N.Y. Times critic A.O. Scott in his 5.25.01 review of Michael Bay‘s Pearl Harbor: “The Japanese sneak attack on Pearl Harbor that brought the United States into World War II has inspired a splendid movie, full of vivid performances and unforgettable scenes, a movie that uses the coming of war as a backdrop for individual stories of love, ambition, heroism and betrayal. The name of that movie is From Here to Eternity.”