Tough Guys Don’t Dance
There’s a bothersome element in this trailer for The Expendables (Lionsgate, 8.13). I’m talking about Sylvester Stallone‘s cosmetic eye surgery. I’m particularly referring to one or two shots that suggest the use of eyeliner, which gives his appearance — be honest — a slight La Cage Aux Folles quality. Tell me this doesn’t undermine the machismo.
EXPENDABLES POWER!
Great trailer. Surprised they included the Schwarzenegger/Willis scene, though. Thought that’d be a treat saved for the movie itself.
Love the theme tune, too. “EVERY ONE OF US IS EXPENDABLE!” Haha. This will be great.
As long as it’s as stupid and over-the-top violent as Rambo, Stallone can wear Jimmy Choo sandals for all I care.
yeah even knowing about it kind of miffed they showed the Willis & Arnold scene. But still, in the words of my generation: stoked.
Also if he pulls this off Stallone will have capped his career with a remarkable genre trilogy of comeback films. Which of course I’m sure he’ll spoil with CASH & TANGO in 2013.
Whose the idiot who cut this trailer and why did they show the scene with Bruce and Arnold? Just imagine how cool it would’ve been with a packed audience to see 3 icons sharing a scene in the same movie completely unaware. Fucking Hollywood man.
Is everyone who’s responded except for Rich S. in total denial? I’m talking about the apparent use of Helena Rubinstein or Max Factor eyeliner on one of the roughest and toughest weather-beaten macho guys around. He didn’t have anything weird going on with his eyes in the last Rambo film…hello?
Why shouldn’t he wear makeup in a movie about man love?
The bothersome elements for me are the ‘direct to video’ lighting and sets throughout and showing the aforementioned cameos, not phantom eyeliner.
How do you come up with this stuff?
At least the music wasn’t gayish.
Couldn’t finish it. Too many quick cuts. I would guess the movie is like that.
I guess I’m showing my age.
Richard from LOST wears guyliner and the ladies love him.
Between the eyeliner and the goatee, he’s going for that rarefied “Arthur Frain from Zardoz” look.
And, no, the eyes were normal in “Rambo,” but those hair extensions were kind of half-assed. Stallone’s post-’90s hair is kind of mysterious; There was never an era where he was patchy or receding. But when he hosted THE CONTENDER he had kind of a sadsack matte-down that looked vaguely “off.” Probably because it was dyed rather than any kind of work… But he had that keep-it-short, combed-down thing going for a while, then in “Rambo” had these ludicrous straight “long” extensions that weren’t remotely consistent with the waves and curls John Rambo rocked in 2 and 3, or the reddish shade it was in “First Blood”… I guess in between hunting snakes in Thailand, Rambo spends his days applying Just For Men and using a relaxer.
Probably just a case of an actor being a little long in the tooth to pull off a real long length, or not having the hair to do so, but like Riggs’ shorn mullet in Lethal Weapon 4 after three movies of hockey hair, or McClane suddenly being bald in the fourth Die Hard, Rambo with half-baked stringy extensions just wasn’t the same.
Alboone: More like fucking LG PR people who thought Repo: The Genetic Opera would be a hit.
And, Braverman…
Sort of know what you’re saying about the sets and lighting, but isn’t that sort of awesomely appropriate? Looks like the kind of thing Cannon would have made, only with Dudikoff, Bronson, Norris and Sho Kosugi circa 1987.
And not even sure how much of that is courtesy of Stallone’s filmmaking choices, but rather the now-patented “LIONSGATE SHEEN,” which renders everything they ever do, EVER, kind of gauzy, blown-out, rusty, grimy and brown. Mike Clark once described New Line movies as always looking like they’re “shot through mud.” But they looked like a splashy MGM musical from 1961 compared to the wan murk of contemporary Lionsgate.
Old-School Stallone (Paradise Alley, Stayin’ Alive, the middle Rockys) had kind of a warm “style” with a hint of soft focus and the lights in the background always racked into interesting patterns. Since his comeback, he’s moved on to a newer, more modern style… it’s almost humble but hard to put a finger on. Minimalist, grey, slightly cold… it’s working for all these flicks, but doesn’t really look like his Satan’s Alley-era style.
ketut: Richard actually doesn’t use eyeliner, although he looks like he does. There was some interview where he says he’s almost lost parts because the casting directors couldn’t understand why he was wearing eyeliner. Guess his eyelashes are just really dark.
Anyway, Fincher wears a dragon tattoo.
Hangover 2 happening.
Dorff joins the war.
New Kick-Ass red-band clip.
I still maintain that Rocky Balboa was all-round more of a successful package than The Wrestler. It was cheesier and more obviously emotionally manipulative, but it covered some similar ground and I enjoyed it far more.
DeeZee: Kick-Ass is receiving stellar reviews from the UK.
Word is that Richard from Lost does not wear eyeliner. The darkness is apparently natural, though much more distracting IMO than whatever is bugging Jeffery RE: Stallone.
Was Ahnuld always that bad?
Putting Arnold & Bruce in the trailer does one thing: It guarantees a massive opening weekend. My early prediction is in the mid $30 million range.
Yeah I’m kind of surprised they blew the Ahnuld cameo (I say Ahnuld cameo because nobody really cares if Willis shows up, do they?)
And what’s with the “and Stallone” billing, which is what they usually do when a big star is in it for ten minutes? Anyway, it looks like a winner, and hopefully Eric Roberts brings maximum ham.
Eloi: That’s nice, but the clip still looks like a poor man’s Boondock Saints.
I guess I’m just too young, because I have absolutely no nostalgic longings for the 80′s steroid action films to be resurrected. Meh.
Yeah Lex, you have a point.
I’m just worried that it looks more like Old Dogs and Four Christmases than Top Gun and Beverly Hills Cop 2.
Yes, Stallone’s appearance was off-putting, but the biggest shocker for me in trailer was during the roll call at the end when all of sudden you get….”Lundgren”. I mean, wow…..Sly just rounded up all the 80s icons he could, didn’t he? I can only assume Van Damme was busy, or he would have been in there too. But of course that raises the question – busy with what? OK, I’m rambling.
MY GOD. The Expendables is my Kristen Stewart.
I don’t care about the eyes; hell, I’m coming up with excuses for it. The guy is a lifelong mercenary – at some point, he’s gotten his face rearranged, and had work to put it back together. So there you go. A perfect explanation.
And I just found out Survivor and Starship are playing a double bill in Atlanta on the night this opens. BEST WEEKEND EVER.
More like Sylvester StaBONE.
(That how it works, Lex?)
“I guess I’m just too young, because I have absolutely no nostalgic longings for the 80′s steroid action films to be resurrected. Meh.”
How young are you, dude? I’m 26, so was far too young to see them in theaters, but I grew up on them on TV. I’m fairly amazed you could be young enough to not have been raised on a steady diet of Rambo, Terminator, Predator, Die Hard, Rocky, etc.
Re LexG’s post:
Now I’m starting to imagine RIGHTEOUS KILL as a Cannon film co-starring Charles Bronson and Lee Marvin with direction by J. Lee Thompson.
Re 115thDreamer’s post:
There’s the UNIVERSAL SOLDIER sequel/coda (direct-to+DVD in the US) that reunites Van Damme and Lundgren–shot by Peter Hyams and directed by someone I’m assuming is Hyams’ son. Watched it awhile back–not up to Emmerich’s original but definitely better than the Lundgren-less sequel of twelve years previous.
I remember really, really liking Universal Soldier, but I haven’t seen it since the theater. And I was in 10th grade at the time. Maybe it’s better to leave that one alone.
Somebody needs to write a book about Charles Bronson’s ’80s output. From ’80 to ’89, the guy had 12 theatrical releases, and only three – The Evil That Men Do, Death Wish 2 and Death Wish 3 – sniffed $10 million. Most of the rest hovered around a $3-5 mill average, but they just kept pumping them out.
Mob front? Tax writeoff? Or were they just that dirt cheap and popular on video?
Chase Kahn: You’re not alone in your complete disinterest.
Watching that trailer, I can see why all the test audiences said the movie was too talky and needed more action. They couldn’t even get more than 30 seconds of action into a trailer? That’s not a good sign.
As for Stallone’s make-up, he’s been doing that for years. He has way more make-up on in Rocky Balboa than this. Having seen Get Carter and Driven within the last year on cable [neither one of which I could sit through], that’s just Sly Stallone.
Josh – internationally, Bronson was huge since the ’60′s. I believe Death Wish was especially big.
I just turned 22 and I was never a big film nerd until I graduated high school. I’m not saying I don’t like watching Universal Soldier or Predator every now and again, but I just wasn’t one of those people who grew up watching pan-and-scan 80′s movies on TV my whole childhood like you or LexG.
Although I kind of wish I did so I could understand half of what the hell gets thrown around on here.
Massey…
Was a HUGE connoisseur of mid-80s Bronson. Love ALL those sleazy, foul, nudity-packed, super-kinky J. Lee Thompson epics, always shot on some overcast, miserable L.A. day and packed with all the zero-budget production design that only Golan and Globus could’ve brought.
10 TO MIDNIGHT is actually quite good, even if it plays like an episode of HUNTER with 100 times the nudity both male and female. Shit, I always talk about “artistes” like Egoyan or Kubrick packing their movies with stunning naked women and having to explain that away to the wife…. Wondering what J. Lee Thompson was going through when this vet, nice old man director was filming 10, 20-minute scenes of extensive female (and plentiful male) nudity…. 10 to Midnight, Evil that Men Do, Murphy’s Law, Death Wish 4, Kinjite: Forbidden Subjects…. All of them just unbelievably foul and unpleasant and brutal; Clearly paycheck ahoy for the star (and probably Thompson), but they’re so of a piece and nihilistic that seen together they have a kind of brutal integrity.
Winner did DW2 and 3, both of which are incredibly fucking great, the former a great piece of nasty L.A. location filmmaking and awesome Jimmy Page scoring, the latter a ridiculous camp classic filmed in the most bogus NYC this side of the current season of “24.” Funny that Bronson was so disappointed in DW3 that he never wanted to work with Winner again, as if Thompson was bringing all this “class” to the rest of his Cannon output.
And somewhere in the middle there, there’s “Messenger of Death,” just excruciatingly boring and some miserable culture clash drama with reporter Bronson investigating murder in the Mormon community… It has that same Thompson wan-ness, but none of the sleaze or gore, so it’s almost disappointing.
115th: Van Damme was actually offered work on Expendables.
Hey, everybody, DZ has now said that he predicted ‘Up’ to win Best Picture, and he thinks that he was somehow correct.
I know, you think I’m serious, but this is the argument he’s made.
damn typo — you may think I’m not serious, but this is the argument he’s putting forth. He’s so pathologically incapable of admitting that he was wrong that he will actually tell you what he predicted, despite it being wrong, and then defend why it wasn’t wrong.
Looks beautifully trashy, but should have kept the Willis & Arnie cameos a surprise. Sort of like Willis’s appearance in Grindhouse.
DZ: Comparing Kick-Ass to Boondock Saints is a crime against all that is good.
Gordon: I said I was more correct than you, because I knew your horse wouldn’t win.
moviesquad: You have a point. Boondocks Saints at least plays like something non-man-children could enjoy.
Right, you were willing to admit the wrong fact, but you think that there’s a mitigating circumstance that makes it less wrong.
On top of that, everybody knew the Oscars were between ‘Avatar’ and ‘Hurt Locker’. You can pretend all you want, but ‘Up’ was a less reasonable prediction than ‘Avatar’, because ‘Up’ had zero chance and ‘Avatar’ was in the running until the final minutes. It’s really that simple.
The only way ‘Up’ could’ve had less of a shot at winning Best Picture is if you weren’t a total pussy and had actually predicted it, rather than waiting until after the awards were over to make your predictions (bafflingly still getting them wrong).
“Boondocks Saints at least plays like something non-man-children could enjoy. ”
Can anybody remember anything DZ has ever said that was stupider than this? I’m pretty sure we have a new winner here.
Gordon: “On top of that, everybody knew the Oscars were between ‘Avatar’ and ‘Hurt Locker’. ”
Only in the Best Director category. Hurt Locker was a friggin’ blip on the radar until those guild wins.
“because ‘Up’ had zero chance and ‘Avatar’ was in the running until the final minutes.”
Considering that Pixar’s had more consistent wins than Cameron, the odds weren’t that stacked against Up.
At the rate he’s going, Stallone is going to look like Jocelyn Wildenstein in 10 years.
I remember watching Copland years ago and wondering why the sad sack smalltown cop had a plastic surgery face and hair dyed the color of coal. It’s too bad, because I bet Stallone would have had a good grizzled face by now.
Aren’t we burying the lead here, anyway? The Step Up 3D trailer looks way more promising…
Basically, DZ, I just wanted you to repeat your statement about how predicting ‘Up’ was somehow more reasonable than predicting ‘Avatar’, so that everybody else would get the same laugh I did.
But now you’ve managed to raise the bar and actually argue that ‘Avatar’ was a more reasonable prediction than ‘Hurt Locker’, somehow thinking that this is a notch on your side of the argument.
Seriously, you’re on fire today. By which I mean, you’re stupid even by your standards, so your brain must be overheating.
“Considering that Pixar’s had more consistent wins than Cameron, the odds weren’t that stacked against Up.”
Hmmmm… prior to this year, Pixar had never been nominated for Best Picture. Cameron was nominated as producer once, and won once.
Now you’re going to bring up “Best Animated Feature”, so, in order to head that off, I’m going to point out to everybody that in the previous thread, you’ve already dismissed Best Screenplay and Best Cinematography as awards that nobody cares about, so I doubt you’re going to get much steam claiming anybody cares at all about animated feature, the award that they invented precisely so that Pixar would never win Best Picture.
How has this team of world-class mercenaries possibly survived more than one mission together when every last one of ‘em has mangled enunciation and an accent so muddy you can’t tell if they’re telling you to run for cover or take point? Putting these mushmouths in a movie together… why bother with dialog? Funny to think that Van Damme’s is the only mealy mouth missing.
In fact, why bother with dialogue either? (See what I did there?)
Boondock Saints and Kick-Ass are very similar in the fact that both are hyper-violent (for the director’s amusement and no one else) and largely homophobic, stupid, and an extremely cliched storyline.
Colin – just to be clear, it was referring to Boondock Saints as something that non-man-children could enjoy I was making fun of, not the comparison of Saints to Kick-Ass.
I watched the trailer twice. Liner or surgeon scars didn’t really jump out at me, but any Stallone eyeball oddity is the least of its problems. Great to see all “the guys” but the quick cuts of explosions, punching and muzzle-flash, the poor dialog (“We’re only four-and-a-half men”) and the tired-ass storyline of desperate third worlders needing real ‘merican heroes did nothing for me except lower my expectations. It really felt like they dropped Arnold and Willis into the trailer to compensate for how weak the package is. I wish it were otherwise. Better luck next trailer.
@Gordon
Gotcha. Boondock Saints was made only for the manchild demographic.
Stallone looks like serious shit. Like one of the melting faces from the Devil’s Rain. Voice sounds like shit too.
Meh. Rambo IV had its stripped down visceral, blood lusting neanderthal appeal, but this looks just plain cheesy. Too many cooks in the kitchen.
And didn’t Ahnold pledge way back at the beginning of his first term that he wasn’t going to do be involved with movies until after he was out of office?
I just now see the similarities to Ugo Tognazzi’s character from the trailer header.
Gordon: “But now you’ve managed to raise the bar and actually argue that ‘Avatar’ was a more reasonable prediction than ‘Hurt Locker’,”
Well, actually, it was more like Precious was gonna win for BP, Avatar was gonna win for FX, and HL was gonna win for cinematography or something like that.
“Pixar had never been nominated for Best Picture.”
Perhaps, but they’ve won the same main category they’ve been nominated in for four times in a row, and I don’t think Cameron can say the same thing.
“so I doubt you’re going to get much steam claiming anybody cares at all about animated feature, the award that they invented precisely so that Pixar would never win Best Picture.”
If no one cared, then people wouldn’t be so upset about Bashir [not to mention Satoshi Kon] being snubbed for that category. BAF may not have the same level of prestige associated with it as BP, but to be able to have that much of an impact in that category that you’re able to further crack the glass ceiling impacted by Beauty and the Beast is a helluva an accomplishment. *Especially* in light of the alleged rivalry going on between actors and animation guilds which also kept Avatar from winning BP.
Spartan: You seem to miss the point that it’s meant to be a tribute to similar low-rent action films of a bygone era.
reverent: It’s a cameo for him.
If Fincher is actually going to remake the Dragon tattoo that is actually good news. I assumed Hwood would F**k it up but maybe not.
I love Carey Mulligan but it’ll surprise me if she can pull off the Lisbeth Salander character.
“Well, actually, it was more like Precious was gonna win for BP, Avatar was gonna win for FX, and HL was gonna win for cinematography or something like that.”
You’ve lost your mind. Your brain is genuinely faulty. Where was this “Precious for Best Picture” buzz coming from, your dog?
But, also, thanks for acknowledging a point you previously disputed, that my prediction of ‘Avatar’ for cinematography was an upset prediction, the second-biggest upset of the night (both of which I predicted).
“If no one cared, then people wouldn’t be so upset about Bashir [not to mention Satoshi Kon] being snubbed for that category.”
Nobody was upset about that and, again, you’re ignoring the actual point, that you’ve already declared Cinematography and Best Screenplay as two categories that people don’t care about, and you can’t find anybody in the entire world who thinks that Best Animated Feature is a more important category to the Oscar voters than those two.
DeeZee: I don’t think the Expendables is crap, but I sure think the trailer is. Stallone has done better.
I re-watched the original theatrical trailer for John Rambo — it did a good job of selling the basic story along with iconic action beats and hints of steel knives, long bows and 50 cal. body-strewn death. It sold the Action. And the movie had exactly that…in spades.
But when a guy who knows better, has all the action-star talent one could hope for, (a freakin’ dream cast), and the 2.5 minute trailer is this weak, to me, it doesn’t bode well for the quality of Action that fans are hoping for. Really, it “feels” more like a teaser than a trailer.
Again, I hope the 2nd trailer sells it better and/or we see a Red Band that gives a better hint of the goods.
Any 80′s Bronson fan must check out the following book:
http://www.amazon.com/Bronsons-Loose-Making-Death-Films/dp/0595379826/ref=sr_1_1?ie=UTF8&s=books&qid=1270086080&sr=1-1
Great detail on the making of each of the Death Wish films (more focus on the 80′s sequels) – lots of cool info on the inner workings and financing of Cannon Films……………
Catching supposed eyeliner in that trailer is like watching the interrogation scene from BASIC INSTINCT and complaining that Douglas’ shoes were wrong.
“10 TO MIDNIGHT is actually quite good, even if it plays like an episode of HUNTER with 100 times the nudity both male and female. Shit, I always talk about “artistes” like Egoyan or Kubrick packing their movies with stunning naked women and having to explain that away to the wife…. Wondering what J. Lee Thompson was going through when this vet, nice old man director was filming 10, 20-minute scenes of extensive female (and plentiful male) nudity…. 10 to Midnight, Evil that Men Do, Murphy’s Law, Death Wish 4, Kinjite: Forbidden Subjects…. All of them just unbelievably foul and unpleasant and brutal; Clearly paycheck ahoy for the star (and probably Thompson), but they’re so of a piece and nihilistic that seen together they have a kind of brutal integrity.”
LexG is a mad fucking genius.
My two favorite ’80′s Action Stars not included here – Kurt Russell (obviously waiting for T & C II) and Peter Weller (not just Robocop but also the under appreciated Shakedown)
Gordon: “Where was this “Precious for Best Picture” buzz coming from, your dog?”
Crash winning BP a few years earlier?
“that my prediction of ‘Avatar’ for cinematography was an upset prediction, the second-biggest upset of the night (both of which I predicted).”
Avatar only won for cinematography because it wasn’t gonna win for BP.
“Nobody was upset about that”
So I guess you didn’t read Jeff’s older posts.
Spartan: Rambo’s catering to an audience familiar with the prior movies, though. Expendables has to sell up an entire genre. Hell, compare Escape from New York the movie vs. the trailer, and the trailer looks way more action-packed than the movie, which mostly consists of gimmicky computer flight sequences, Jar Jar-esque side-kicks[except for Borgnine, of course] and some goofy bad guys. So, as we’ve learned time and time again, trailers which show all the money-shots up-front don’t always deliver on the final product.
Noah: AICN just uploaded New Beverly interviews with Weller.
No, I’m saying, do you have any link to anybody anywhere who predicted that ‘Precious’w as going to win? That was so off-the-charts that even you yourself didn’t predict it, though you now claim it was the early buzz.
The fact is, the early buzz was ‘Up In The Air’. But that died quickly, which was why I correctly predicted that it would be shut out entirely.
that’d be a treat saved for the movie itsel
Gordon: “The fact is, the early buzz was ‘Up In The Air’.”
Don’t remember that whatsoever. The early buzz was for Basterds.
Dee you’re truly daft. I actually don’t believe you. you must remember that buzz, and are just being a dick. Though it would confirm my suspicion that you barely read this site.
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“Don’t remember that whatsoever.”
Wow, how unusual, that you’re so disconnected from reality. What’s strange, though, is that you previously claimed to have entered Roger Ebert’s Oscar contest, yet didn’t know that ‘Up in the Air’ was the early favorite (that’s pretty much the #1 point he makes in his Oscar writings).
“The early buzz was for Basterds.”
Okay, another thing you have absolutely no examples of, but, more amazingly, that certainly makes you look intelligent for predicting (at the time that buzz existed, since you’re saying htis is before ‘Hurt Locker’ had won any critical awards) that it had no shot at being nominated.
Just like how you predicted it wouldn’t win any awards and then, after Waltz won, came on here and posted how you felt so vindicated because it had been completely shut out.
Stallone’s script was longer that what got filmed, and his edited footage wound up excising several actors/characters, thus we wound up w/ a diminished Lionsgate compromise.
From a basic market pov, the concept was brilliant (and had been jokingly suggested 25 years ago by Mad magazine, SNL etc), and they chose the best possible DP in Jeffrey Kimball = a 1980s uber-maestro who lensed all of Tony Scott’s classics and thereby inspired most of Bay’s modern collaborators. If delivered properly this E-ticket could have elevated Avi Lerner to Joel Silver heights only dreamed of by Golan-Globus on Delta Force.
However Stallone’s draft (from a story by a “Doom” scripter) wasn’t ever as good as the concept needed (if only he would have gotten a Shane Black polish!), and the final edit (so far) is merely “meh” in the same way that Golan-Globus’ Delta Force wasted its budget and effort on storytelling that its target audience didn’t care about, while failing to please snobs who were never going to like it anyway.
Again, that’s why the studio is using Arnold and Willis now instead of trusting merely in w.o.m. in August.
Gordon: The only buzz Up in the Air had was at Sundance, and that means nothing for Oscar contenders.
The only five pictures that had a shot Best Picture were the ones also nominated for Best Director (which included Precious.)
DeeZee – “Avatar only won for cinematography because it wasn’t gonna win for BP.”
My pointless exercise of the day, movies that won for Best Cin. and Best Pic.:
Gone With the Wind, Rebecca, How Green Was My Valley, Mrs. Miniver, An American in Paris,
From Here to Eternity, On the Waterfront, Around the World in 80 Days, The Bridge Over the River Kwai, Gigi, Ben Hur, West Side Story, Lawrence of Arabia, My Fair Lady, A Man for All Seasons, Ghandi, Out of Africa, The Last Emperor, Dances With Wolves, Schindler’s List , Braveheart, The English Patient, Titanic, American Beauty, and Slumdog Millionaire.
DeeZee – Things for the heads up on the Weller interview.
Why is it that whenever I try to post links [in this case, the numerous links that come up on Google if you enter "Up in the Air" and "Oscar buzz", including winning the National Board of Review's film of the year], the site won’t let me? Yet spammers (including DZ) can post as many as they want?
Anyway, DZ, you have no evidence for any of the stupid shit you say, and if you’re seriously arguing that the Oscar buzz was not ‘Hurt Locker’ vs. “Avatar’ for pretty much the entire season, with ‘Up in the Air’ dying quickly in the build-up and a brief flare up for a week around the possibility of ‘Basterds’ as an upset, then you’re just stupid. Either way, there’s no point in continuing this argument, because you consistently refuse to offer any evidence to even suggest why you think this stupid shit. And that’s understandable, because there is none.
Thank you, Baltimore!
DeeZee today is like Beavis after he would down too much Volt cola and start spazzing out as Cornholio. In other words, RARE form. It’s not everyone who can post 9,000 thoughts in a 12-hour span and not have ANY of them make any logical sense. I am awed.
reluctantly, I have to second Lex’s sentiments of props (albeit back-handed ones) for DZ.
Almost any situation —good or bad— is affected by the cheap prada shoes attitude we bring to.
“The only buzz Up in the Air had was at Sundance,”
I know you hate evidence, but I also know you love links, so here ya go:
http://insidemovies.moviefone.com/2009/12/03/national-board-of-review-winners-up-in-the-air/ [National Board of Review, Best film of the year]
http://insidemovies.moviefone.com/2009/12/04/oscar-buzz-up-in-the-air/ [Moviefone's first Oscar buzz article of the season]
http://www.associatedcontent.com/article/2456776/up_in_the_air_reviews_point_toward.html?cat=40 [from the AP, note the opening line "taking off since September, declaring it the Oscar frontrunner"]
And, of course, the Ebert thing I mentioned.
That’s the first few links that come up in Google when you put in ‘Up in the Air’ and “oscar buzz”. Nothing about Sundance.
Now, I’d like to see any evidence you have, for anything you’ve said.
The new A-Team trailer is actually pretty good: http://www.youtube.com/watch?v=CYvhqct2FMQ
Eloi: Thanks for the link. Good trailer, (much better than A-Team’s first one); good Action; looks fun. That’s what gets asses in seats.
strangely, I think the losers looks slightly better than a-team, and i’m a huge carnahan fan (and tony/ridley produced it)
both look outlandish and absurd and totally divorced from reality.
Agree actionman: Both divorced from reality, but Losers does comes across with a slightly harder edge, as opposed to A-Team goofin’ and laughin’ as they go, the more outlandish of the two. Wouldn’t be surprised if there’s A-Team Happy Meals marketing involved.
Yeah, I think the Losers looks a bit better. Smaller-scale, with less outlandish stunts than the A-Team. But I’ll see them both because I’m a whore for high-octane actioners.
Stallone’s had more work done than Heidi Montag.
Just read an article about The Expendables on WorstPreviews, wherein producer, Avi Lerner, says that John Rambo lost money for the franchise because it was an R, so they’re making an R version of The Expendables and a toned-down PG-13 version and they’re testing them both to see which audiences respond to best.
THAT could be the reason this first trailer for The Expendables is manifestly avoiding showing even a few seconds of completed Action.
Um, to more properly attribute, WP got their news about The Expendables from UGO. My bad.
Gordon: The only buzz Up in the Air had was at Sundance, and that means nothing for Oscar contenders.
HA, just catching up on this “discussion” from yesterday. DeeZee’s brain is obviously broken in a myriad of ways (is it still functioning in any??), the most obvious example that has not yet been pointed out being that UitA never even played at Sundance…
Losers doesn’t seem as tight as A-Team and lacks a comparable cast, though.
Kane: It’s still the place to whore movies appealing to New Age Boomers, so…
So…by that (fucked-up) rationale, Up in the Air is not a movie geared toward New Age Boomers!
That was really too easy.
Spartan – I believe that’s done now; they tested both and the R-rated won.
Kaned – I didn’t think it had, but I did a Google search for “Up in the Air” and Sundance 2009, and a few pictures came up, so I didn’t bother to make that point.
What I like is how DZ defines every movie as seeking a target audience. You know what I’ve never seen him say? “That’s a movie I want to see.” He basically defines large groups of people, but has such low self-esteem that he can’t actually define a group of people that includes him.
Kane: Actually, my point is that it does appeal to that crowd, and that the marketing and WOM carried over there, even if the movie was not screened there.
Gordon: I already mentioned a movie I wanted to see: Expendables.
eat a goddamn bullet
Yeah, Kaned, don’t you remember how they were marketing it there six months before they premiered it?
“I already mentioned a movie I wanted to see: Expendables.”
I was a lot more interested before the trailer was such shit.
what kind of sick society do we live in where an A-Team movie with Bradley Cooper looks more promising than a movie with Stallone, Statham, Lundgren, Li and Rourke
it’s like the last days of Rome all over again
I am so glad that rumors of your banning were greatly exaggerated, Bob.
Bob: Don’t worry. Biel is sure to make it suck. Look at Blade 3.
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I still maintain that Rocky Balboa was all-round more of a successful package than The Wrestler. It was cheesier and more obviously emotionally manipulative, but it covered some similar ground and I enjoyed it far more.
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