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Moviefone News Moviefone Copyright 2011, HuffingtonPost.com, Inc. Moviefone Good old fashioned elbow grease. <![CDATA['Safe House,' 'The Social Network' And Other Movie Trailers That Use Jay-Z And Kanye West]]> Denzel-plays-the-heavy vehicle seem that much cooler. Of course, "Safe House" isn't the first film to feature Hova or Yeezy in its marketing campaign. (Thank goodness for that, right?) Ahead, a brief history of songs by Jay-Z and/or Kanye West being used in movie trailers. VIDEOS: ]]> Wed, 8 Feb 2012 20:13:24 EST http://news.moviefone.com/2012/02/08/jay-z-kanye-west-movie-trailer-music_n_1264171.html <![CDATA['Trouble With The Curve': John Goodman Joins Justin Timberlake, Clint Eastwood And Amy Adams In Baseball Drama]]> the actor is set to join Clint Eastwood in the upcoming sports drama, "Trouble With the Curve." Goodman, who once portrayed New York Yankee great Babe Ruth in the 1992 film "The Babe," will play a longtime baseball scout in "Curve." The film follows Eastwood, another scout, who takes a road trip with his daughter (Amy Adams) to discover a hot prospect. Justin Timberlake -- who Goodman stars with in the upcoming Coen Bros. film, "Inside Llewyn Davis" -- will play Adams' love interest. Goodman is currently starring in probable Oscar-winner "The Artist." "Trouble With the Curve" is currently slated for a September 28 released date. [via Variety] ]]> Wed, 8 Feb 2012 16:21:20 EST http://news.moviefone.com/2012/02/08/trouble-with-the-curve-cast_n_1263629.html <![CDATA[Denzel Washington On Getting Waterboarded During 'Safe House: 'It's Strange; You Can't Breathe In']]> Washington said he was waterboarded during the filming of his upcoming action-drama, "Safe House." "I wanted to see what it would be like. It's strange. You can't breathe in, because the water comes in, and it's filling up your mouth," said Washington. "And that was just one time for a short time. Imagine having that done for 20, 30 seconds? You will give up the answers! You may not necessarily tell the truth, but you will tell [your captors] whatever they want to hear." Although Washington was quick to volunteer, it didn't leave his director, Daniel Espinosa, feeling anymore at ease. "I was terrified, but I let him go and I had to watch him do it. He went all out for this movie. I would definitely not like to be waterboarded. It was intense. Disturbing. I had sympathetic pain. I always get sympathetic pain. I wish I didn't. I felt like I was drowning." Co-star Ryan Reynolds agreed, telling press recently that Washington's waterboarding was terrifying to watch. "That was the most disturbing thing I think I'd ever seen, watching him be waterboarded," Reynolds said. Waterboarding wasn't the only first Washington experienced on the set of "Safe House." During a fight scene with Reynolds, the Oscar-winning star received a black eye. "I tried to make him feel bad about it," Washington said about the aftermath of one of Reynolds's errant punches. "I was like, 'What the!' I've never had a black eye in my life, but I can't say that anymore." You can watch the infamous waterboarding scene -- as well as the part where Denzel gets a shiner -- when "Safe House" hits theaters this Friday. [via Vulture] ]]> Wed, 8 Feb 2012 15:29:02 EST http://news.moviefone.com/2012/02/08/denzel-washington-safe-house-waterboard_n_1263422.html <![CDATA[Angelina Jolie's 'In The Land Of Blood And Honey' Less Popular Than Nazi Moon Film, 'Iron Sky']]> Guardian, Berlin Film Festival tickets to Jolie's directorial debut, "In the Land of Blood and Honey," were outsold by a movie called "Iron Sky." The Finnish flick follows Hitler's top scientists, who decide to move to a moon base after the end of World War II. Seventy years later, they travel back to earth to finish what their Third Reich ancestors started. Despite "Iron Sky" outselling "Blood and Honey," it still fell short of number one, with the Bollywood flick "Don 2: The King is Back" claiming the top spot. Perhaps Jolie's German fan base weren't aware about her work on the film? Or maybe it's finally time for Angelina to make a Bollywood feature. The Berlin Film Festival runs from February 9-19. [via Guardian] ]]> Wed, 8 Feb 2012 15:04:04 EST http://news.moviefone.com/2012/02/08/berlin-film-festival-iron-sky_n_1263364.html <![CDATA[Awards Show Challenge: Best Live-Action Short]]> the biggest stars in Hollywood gather to bestow Oscars on the best movies of the year. With Billy Crystal hosting the festivities once again, movie fans will be watching how many Academy Awards are racked up by "The Help," "Hugo" and more. And since we won't know who wins the big gold until that 8pm ET start-time on February 26, this is your chance to test your award show expertise. Every weekday between now and February 24, we'll post new questions about what will happen on Hollywood's big night. (Right there on the right side of your screen) Submit your best guesses and you'll automatically be eligible for a daily prize of two free movie tickets. The grand prize -- a YEAR'S worth of free movie tickets -- will be awarded to a user with the most correct predictions. Want to Win Free Movie Tickets For a Year? Keep Playing Awards Show Challenges Click here for rules. ]]> Wed, 8 Feb 2012 15:00:15 EST http://news.moviefone.com/2012/02/08/awards-show-challenge-best-live-action-short_n_1263370.html <![CDATA['Wanderlust': Jennifer Aniston and Paul Rudd Sit Down For Next Unscripted; Ask Them A Question!]]> Moviefone's Unscripted for the new comedy "Wanderlust" -- meaning you can ask them anything about their upcoming film, where a city-dwelling couple stumble upon a hippie commune. "Wanderlust" fans will have until Tuesday (2/14) at 8 p.m. EST, to ask a question. You can leave queries in the comments below, on our Facebook page or on Twitter. Check back to Moviefone toward the end of the month to see the completed video. "Wanderlust" hits theaters on February 24. ]]> Wed, 8 Feb 2012 14:51:07 EST http://news.moviefone.com/2012/02/08/wanderlust-jennifer-aniston-unscripted-questions_n_1263267.html <![CDATA[Woody Harrelson on 'Rampart,' 'The Hunger Games' and Replacing Coach on 'Cheers']]> Harrelson has been in the news this week because of his publicity tour for "Rampart," but that's really nothing compared to what Harrelson went through that week. In "Rampart," (opening in limited release this Friday) Harrelson plays Dave Brown, a Los Angeles police officer under investigation for a number of incidents that did not go exactly to procedure. Set in 1999, after the titular scandal ripped through the LAPD anti-gang unit, Harrelson plays a man dangerously close to the brink of self-destruction. Harrelson spoke to Moviefone about playing a suicidal cop, what convinced him to accept a part in "The Hunger Games" and his experiences on the set of "Cheers" after replacing Colosanto. So, thanks for your time today. Aw, no sweat. I didn't know that I had any choice. I don't think you do. Heh, heh. You were recently quoted as saying you weren't initially happy with the edits in "Rampart." Now you are happy with the final cut. Was there any scene still missing that you wish were in the film? Nah. I mean, I thought there were some really good scenes that got cut, but I really liked the way it all turned out. What did I say in The Hollywood Reporter? That it was a four hour epic and 36 scenes were cut. Yeah, but I never expected it to be a four hour epic. I'm saying it would have been a four hour movie had he left in everything. So, I don't think that would have worked… No, but was there a scene that you wish were still in the film? Yeah, I mean, I've tried to repress those. Whatever I thought was good -- just let it go. I've repressed it. Dave seems like a smart guy, but is perhaps just arrogant about his authority. Is this how good cops go bad? Well, it's hard to say. I don't now what happens with most cops. I just kind of know what happened with this guy. And I don't know if it was so much greed. You know, there's a lot of stuff he's done that never got caught on film. And that really started things. Started his demise. Would you get along with Dave? [Laughs] I don't think so. Why not? I don't see why he'd want to talk to me. He's one of those guys who's very driven toward either a woman or his family or someone he works with. I don't think he'd want to go out of his way to befriend a guy like me. Well, he does pick a place with a fun lounge singer. [Laughs] Yeah. Did you like the singer? Yeah, I did! I mean, I didn't really talk to the guy very much. But I did meet him. But, mostly, he was doing his thing and I was doing my thing. He has an interesting way of performing a song. I'm trying to think… "Downtown," wasn't that what he was singing? It was. I liked the scene in which you're paying around with a gun and aiming it at your head in a "Is he going to kill himself"-kind of way. As a viewer, I'm thinking, "Well, why not at this point?" Yeah, that was an interesting scene. It's funny that you brought that one up because it wasn't in the script. We were in that room and [director] Oren [Moverman] gave me the gun and said, "Try something here." The concept was, "Here's the gun, let's see what you're going to do." So that just kind of spontaneously happened and was shot in-between other things that we had on the schedule. I'm going to make the assumption that you've never held a loaded gun to your head before. Where do you aim it? Because the last thing I want to do is shoot myself in the head and wind up surviving. Yeah, yeah. That would be a thing that he would try to consider to be the best spot. Maybe he should just put down the gun and see a movie. Well, you know, I have heard that they have done some sort of study on people that have jumped off of the Golden Gate Bridge. And there is a certain number of survivors -- not a lot, obviously -- but, without exception, they've gleaned the fact that minute someone jumps, they wish they hadn't. Every time, they're like, "What the fuck was I thinking?" You know, "It's bad… but is it that bad?" Like, "I wish I could get back on that bridge." I just looked up your filmography to see what you had come out in 1999. Dave should have gone to see "EdTV." Do you think Dave would have liked "EdTV"? [Laughs] That would have cheered him up. That's a funny movie. So, you have "The Hunger Games" coming up. When you were first approached to play Haymitch, were you at all hesitant? Because, on the surface, before you get to learn about Haymitch, it doesn't seem like your type of thing. He is a complex character. No, I was interested because I knew Gary Ross was doing it. I didn't know about the books until after they offered it. And I took a while to respond. But then I started reading one of the books and, the first book, I really liked. But, I thought about it and I just didn't think -- I didn't think there was enough to do. Do you know what I mean? It's not a huge part or anything. I'm happy to do smaller parts -- I don't have a problem with that -- but it just didn't seem like there was enough to do. I turned it down, but then Gary called me and said, "Dude, you've got to do this. I don't have a second choice. You've got to play Haymitch." And I was like, "Well, when you put it that way… let's do this damn thing." And I'm so glad that I did, because, you know, it's really was one of the best experiences and just a great group. When you started on "Cheers," you replaced Nicholas Colasanto who had just passed away. How difficult is it replacing an actor who was beloved as he was on set? Is there any animosity? Well, you know, I wasn't really familiar with "Cheers." So I didn't have this relationship with Nicholas Colasanto, which would have made it really stranger for me. I had watched "Cheers" exactly twice before doing my first scene. And, I gotta say, it sounds like a hard thing -- and it is hard on the page -- but, in reality, that group of people was so great and so gracious and so wonderful to me, that they made it kind of easy. And, at first, Woody and Coach had similar traits. And I think it was probably more awkward for those guys. You know? But they really didn't show it. I think Shelly Long did one time, she said something like, "I can't believe it. I miss Coach." Not in a mean way to me, but that was probably the most real awareness I had to whatever they were going through. But, other than that, I gotta say, it was just an extraordinary experience. Everybody was so cool and supportive. Mike Ryan is the senior writer for Moviefone. He has written for Wired Magazine, VanityFair.com, GQ.com, New York Magazine and Movieline. He likes Star Wars a lot. You can contact Mike Ryan directly on Twitter ]]> Wed, 8 Feb 2012 14:48:45 EST http://news.moviefone.com/2012/02/08/woody-harrelson-on-rampar_n_1263280.html <![CDATA[How Stanley Kubrick Shot His Own <i>Newsweek</i> Cover]]>

Stanley didn't travel. His work and life were intertwined and based entirely in England, so the world came to him. This was both a benefit and a complicating factor as I set about strategizing publicity for A Clockwork Orange, which was set to have its world premiere in New York on December 19,1971. There was a limit to how much Stanley would do to publicize a film -- by preference and design. He wanted his words to have meaning, which meant that interviews had to be consequential. Further, he insisted on having the right to edit his direct quotes until he felt they accurately represented what he wanted to say. They would be a permanent record that had to stand the test of time. Immediate answers, without subsequent consideration, could be interpreted in ways that would diminish their substance. He could spend days "cleaning them up" before he was satisfied. As a result, they have a rare lucidity. Broadcast was out of the question. With radio and television interviews, it was impossible to exercise the control he required. And there was little chance to weigh in with meaty responses or have an extended, meaningful dialogue. In most cases, doing broadcast interviews also meant traveling to someone else's studio -- a waste of time. A key part of our strategy was to secure the cover of one of America's two major mainstream news magazines, Time and Newsweek. Unfortunately, Time had instituted a policy of not running cover stories on film directors, as their last one, on Ingmar Bergman, hadn't sold well. Instead, Time critic Jay Cocks would write an inside story and extended review for the film's opening week. That left Newsweek, whose editors jumped at the chance to publish the first piece on the new Kubrick film. Paul Zimmerman, Newsweek's film critic, flew to London three weeks before the opening and viewed A Clockwork Orange several times. Stanley was a great conversationalist and loved to be stimulated and prodded about his work. They were locked together for hours at a stretch, and when Paul, who later wrote the screenplay for The King of Comedy (1983), left at the end of the week, exuberant from the encounter, the cover seemed a certainty. Then, ten days before publication, I received a message from a new name at Newsweek. Problems? Cultural stories could always be bumped for breaking news, and I thought of how morose my colleague Dick Winters had looked back in 1965, when, after he'd spent a year nurturing a Dr. Zhivago cover at Time, the magazine bumped his baby to report the news of NASA's first manned space rendezvous. The unpublished Zhivago cover remained forever framed in his office. Thankfully, we were not in danger of being displaced. Newsweek's art director was calling to coordinate Stanley's photo shoot. There was a two-day window. Great. No problem. I was overloaded with last-minute deadlines and was preparing for an imminent trip to New York. But before running through our evening checklist, I wanted to confirm a time for the Newsweek shoot. Stanley didn't look up from his desk, "Tell them I'll take the picture. And I'll need their specs." I was stunned. "Stanley, this is the cover," I said. "They have their photographer; you have photo approval." There would be no budging. "I'll take the photograph," he said. "Find out when they need the negatives in New York." Stanley was an ace photographer. He intended to set a precedent by shooting his own cover portrait, controlling the image he wanted to project. The next conversation with Newsweek's art director had me reiterating how Stanley knew more about photography than anyone; how he developed his reputation as a photographer for Look; how there would be a selection of choices. Not to worry, I assured him. You know he's a technical genius. He replied with an ultimatum: "This is unheard of. We take our own cover photographs. If he won't be photographed by Newsweek, he won't be on the cover." Was this actually happening? Losing our major break over the cover shot? We were five hours ahead of New York, which gave me a time advantage. I called Paul Zimmermann at home. He offered some comfort. "They're not going to lose the story. I'll see how things stand in the morning." Stanley was playing the odds. Without a war starting, they were locked into the story; Newsweek had the exclusive and too much time and effort had been invested. The phone rang. It was Stanley with an afterthought. "Give him these specs. He'll know what I'm doing. You'll get through it." In the morning came the reluctant call from the art director, curtly asking for directions to Abbot's Mead for their courier. "These better be good." He hung up. At 10 o'clock that evening, Stanley began setting up the shot in the painting studio of his wife, Christiane. Executive producer Jan Harlan was there to assist. Stanley held out until the last possible minute to ensure there would be no alternative to using his shot. I wouldn't leave until the film was given to the waiting courier. Stanley moved the lights and placed Jan on a stool in various positions as he looked thought the lens for the angle he wanted. Jan pointed his finger as Stanley directed. Then Stanley gave him the camera he'd chosen for a prop. After an hour of adjustments, Stanley changed places with Jan after showing him where to press the button for the shot. Nothing moved. Jan pressed continually as the roll of film progressed. Stanley looked toward the camera, pointing out, just as he'd instructed Jan. The credit for the January 3, 1972, issue of Newsweek reads: Cover Photograph: Stanley Kubrick. This is the third in a series of reminiscences about Stanley Kubrick written by Mike Kaplan, a veteran film executive who was Kubrick's marketing man for his film 'A Clockwork Orange,' having also worked extensively on the release of 'Kubrick's 2001: A Space Odyssey.' Previous installments can be found here and here. 'A Clockwork Orange' opened nationally 40 years ago this month. ]]> Wed, 8 Feb 2012 14:38:26 EST http://news.moviefone.com/mike-kaplan/kubrick-newsweek-cover_b_1263300.html <![CDATA[Oscars 2012: Celebrate The Movies With New Banners Highlighting 'Annie Hall' And 'Raging Bull' (PHOTOS)]]> head over to the Academy Awards website. PHOTOS: ]]> Wed, 8 Feb 2012 13:33:48 EST http://news.moviefone.com/2012/02/08/oscars-2012-celebrate-the-movies_n_1263123.html <![CDATA[Martin Scorsese: Blackie, The Dog From 'Hugo,' Was Not 'CGI'd']]> a successful Awards season campaign by Martin Scorsese, Blackie, the Doberman Pinscher from "Hugo," is on the ballot for the Golden Collar awards. However, the director concedes that the pooch's chances of winning the prize are slim, something he half-jokingly blames on a "negative campaign," as well as Uggie, the beloved dog from "The Artist." "Uggie is a very nice dog ... but Blackie was amazing. And [she hasn't received the same attention] because she was a guard dog and terrorized children in the film," Scorsese told Ellen DeGeneres on her show yesterday. Scorsese didn't have to do much to prove his point to the "Ellen" audience: When a photo of Blackie was shown on screen, there were a few "awwws" from the crowd, as opposed to Uggie's photo, which elicited a much louder response. "You see!" exclaimed Scorsese. The Best Director nominee also took the time to shoot down an anonymous report claiming that Blackie's expressions were created using special effects. "Some sources close to the Golden Collar committee claimed that Blackie was CGI'd. [...] Rob Legato, who did our special effects, he wrote a rebuttal [in THR] explaining that there was not one shot CGI'd ... There is some negative campaigning going on," said Scorsese. Despite his low hopes for Blackie winning the award, Marty happily accepted a gift on behalf of DeGeneres: A golden collar that says "Vote For Me." "I want to make sure Blackie is taken care of," said the popular talk show host. You'll have to wait until the Golden Collar Awards, on Feb. 12, to see if Blackie pulls the upset. [via THR] ]]> Wed, 8 Feb 2012 13:23:20 EST http://news.moviefone.com/2012/02/08/martin-scorsese-hugo-dog-cgi_n_1262860.html <![CDATA['Bourne Legacy' Trailer: Jeremy Renner Is The New Bourne (VIDEO)]]> hmmmm), "Legacy" moves away from Matt Damon's Jason Bourne character, instead focusing on Renner's new agent, a new spy breeding ground (Outcome and Edward Norton), and the seemingly always-duplicitous Treadstone (hey, Joan Allen, David Straithairn and Albert Finney). Tony Gilroy wrote and directed "Legacy," which might explain why the shaky-cam aesthetic has been dropped in favor of a more straightforward approach. Gilroy was famously on the receiving end of a Matt Damon smack-down late last year, but despite those differences, even the original Jason Bourne is hoping the new film succeeds. Well, sorta. "I think if ['Bourne Legacy'] doesn't work, we can just ignore it and pretend it didn't happen, and that'd be fine," Damon told KCRW in December. "But I expect that it will work and only help us if we did another one, which I'd love to do." Judging from the trailer, Damon's instinct might be right. After all: "Legacy" does feature some variation on the "Inception" horn. That thing sells tickets! "The Bourne Legacy" is due out in theaters on Aug. 3 [Apple via /Film] ]]> Wed, 8 Feb 2012 12:50:08 EST http://news.moviefone.com/2012/02/08/bourne-legacy-trailer-jeremy-renner_n_1263091.html <![CDATA[An Obsessive Chat About <i>Star Wars: Episode I - The Phantom Menace</i> Between Mike Ryan and IFC's Matt Singer]]> Star Wars: Episode I - The Phantom Menace returns to theaters on Friday in 3D -- 13 years after its original release. In 1999, anticipation was high for what was the first new Star Wars installment in 16 years -- a film that would introduce us to young Anakin Skywalker, who was prophesized to bring balance to The Force. Today, The Phantom Menace serves as a reminder not of the balance of The Force but of the balance between expectations and reality. Such a reminder that (back by popular demand) IFC's Matt Singer and myself decided that an obsessive chat was necessary. Mike: So, Matt, where do you stand on The Phantom Menace?
Matt: I guess I'm of two minds about it: On the one hand, I think it's a terrible movie, and on the other hand I kind of love that it exists specifically because it's a terrible movie.
Mike: That sounds like something a person on pot would say.
Matt: I love pot. Potty pot pot. Down into my belly, etc.
Mike: My dad calls it dope. "Michael, if I ever hear that you have smoked dope ... "
Matt: I've never smoked weed. I'm the biggest nerd in the world. Or I figured I was until I read your pieces about Star Wars and I now realize it's a horserace between us. Is there a Star Wars drug?
Mike: Well, there's blue milk. Also, Han Solo was a spice smuggler.
Matt: Code for drug smuggler?
Mike: I'm not sure we are 100-percent sure what "spice" means.
Matt: Maybe he smuggles a feed from a mid-90s pay-per-view porn channel? NOT THAT I WOULD WATCH SOMETHING LIKE THAT.
Mike: I think it is still in existence. NOT THAT I WOULD KNOW THAT FOR ANY REASON.
Matt: ME NEITHER. So, yeah, The Phantom Menace. Here's what I like about it: I like the fact that George Lucas -- arguably the most vocal and visible advocate for the auteur theory, which holds that the director of the film should have the autonomy to make whatever he wants to make free of interference from studio executives and money men -- made maybe the best argument against the auteur theory in cinema history.
"I must have the freedom to make what I want!"
"Oh man, we love 'Star Wars' -- make what you want!"
"Here it is!"
:::awkward silence::::
Mike: OK, to your point ... I don't know what happened to Lucas in the years between 1983 and 1999, but when he was making the original trilogy, he was smart enough to let other people direct the sequels while he handled the production side.
Matt: Well, it didn't work out 100-percent great for Return of the Jedi, but I see your point.
Mike: I'm under the impression that Lucas wasn't a huge fan of Kershner's Empire ...
Matt: Because, really, why would he be?
Mike: Exactly. And from what I've read, Lucas had quite a bit more influence on Richard Marquand's Jedi than he did on Empire. He was basically the second unit director. On Empire, he directed only one scene: the one in which the medical droid 2-1B asks Luke to "be careful."
Matt: And then steps in CGI poop.
Mike: Which Star Wars are we supposed to be discussing?
Matt: I thought The Phantom Menace. Do you pretend it doesn't exist? Have you blocked out all of 1999 like an abuse victim?
Mike: I feel like that loon in A Christmas Story saying, "I like Santa Claus" and "I like The Wizard of Oz" but ... I like Darth Maul. Why that movie doesn't give us more Maul is beyond me.
Matt: Well, he's probably the best part of the movie. And I suppose he does fulfill the Boba Fett role of "Star Wars villain who looks cool but has no real character beyond looking really cool."
Mike: I get the impression that Lucas doesn't really like his "cool" characters much: Boba Fett, Darth Maul and even Han Solo, to an extent.
Matt: I suppose, though Han Solo talks a lot more than either of those other two. And his face isn't masked or covered in makeup and horns. Though I would love to see Harrison Ford in red makeup and horns. Now, I mean. With the earring. Someone Photoshop that for me.
Mike: While he's saying something cranky.
Matt: Exactly. How do you think the movie has aged?
Mike: Poorly. Put it this way: I think its legacy is terrible. I mean, when this movie came out in 1999, it was a HUGE deal. From a nostalgia standpoint alone, there should be more buzz about the re-release. That was a genuine event.
Matt: That's interesting -- Lucas always argues that the movies are for kids, and I always hear that the generation of kids who were our age when we saw the original trilogy consider Episodes I-III the equal of IV-VI. Where are those people, now in their late teens, freaking out about seeing it again in the theater the way I freaked out about the Special Editions?
Mike: A friend of mine, who has a son, says that his son and his son's friends love Anakin. They all want to be Anakin when they play Star Wars. This makes me sad inside. I mean, he's a bad guy. Don't they know that?
Matt: You should go and break their Anakin toys. That would teach them a real lesson about the Dark Side.
Mike: So, young children apparently still love the prequels. But they grow up and are replaced. Just like clones.
Matt: Mmm, profound.
Mike: But they grow out of the films. Whereas people our age didn't.
Matt: That's probably a good thing -- for them, I mean.
Mike: For the record: I never believed this "Star Wars was always for kids" argument. The Empire Strikes Back is not meant for kids.
Matt: Kids love behandings, Mike. Love 'em. They love sleeping inside dead animal carcasses to stay warm. LOVE it. They love vague sexual intrigue between brothers and sisters.
Mike: Look, THAT's only natural.
Matt: That's the blue milk talking. To me, The Phantom Menace has aged worse than you'd expect. As bad as it was, it's worse now. Because the one thing it absolutely had going for it -- the incredible technology -- now looks average at best, dated at worst. In 1999 you could gorge on spectacle and convince yourself it wasn't terrible. Now, I just get caught up in the nonsensical plot.
Mike: The Phantom Menace has aged better than Attack of the Clones and Revenge of the Sith.
Matt: I don't know that I agree, but I'm willing to hear your argument (and then mock it).
Mike: Only because a decent part of The Phantom Menace was shot on location. So actual sets were used. At times.
Matt: Ah, interesting. Whereas Attack of the Clones, especially, is Blue Screen City. (Blue Screen City, by the way, is one parsec over from Cloud City.) Mike, are the Jedi purely good guys or are they kind of covert jerks? They seem somewhat jerks in this movie. They use their Jedi mind tricks on people, they gamble, they gang up on a guy in an unfair fight.
Mike: They are jerks. At times.
Matt: If I asked you to explain a plot point of this movie, do you think you could do it? Why does Qui-Gon need Anakin to pod race?
Mike: I think this goes back to the Jedi being jerks aspect. I mean, it was to win a bet for the parts for the Queen's ship. But I'm guessing that you're getting at, "Why didn't they just take the parts?"
Matt: Correct.
Mike: I think the Jedi are willing to bend the rules -- like with mind tricks or by using the force to affect dice -- but they won't resort to criminal activity.
Matt: So being a douchebag is okay. But being a criminal, that's the line they won't cross.
Mike: Honestly, I think that's exactly it. If no one KNOWS that they are cheating, it's fine. But they won't just publicly commit crimes.
Matt: Also: if they ARE heroes, and they ARE working on the side of good, why don't they free Anakin and his mother? Forget buying them. Isn't slavery, y'know, bad? I feel like slavery is something a Jedi should be fighting against.
Mike: I think slave is a strong word. And I know they use it in the film, but I think "ward of" is the more appropriate term here. I mean, they seemed to come and go as they pleased.
Matt: They're slaves! Watto owns them!
Mike: Anakin's friend has braces!
Matt: Is that Kit Fister? Kid Fisto?
Mike: Kitster. But it's not him. The girl has braces.
Matt: Kitster. Oh, OK, I'm getting these children who had no lines and no purpose in the story confused.
Mike: I remember that there was a rumor that Kitster was going to become Boba Fett.
Matt: Don't you wish that rumor were true in retrospect?
Mike: Actually, yes.
Matt: This picture of Kitster, by the way, is amazing.

DON'T MESS WITH KITSTER. HE WILL STERNLY FOLD HIS ARMS AT YOU.
Mike: "Am I Boba Fett someday?" "Um ... sure, Kitster."
Matt: I WILL NOT UNFOLD MY ARMS UNTIL I AM PROMISED THE ROLE OF BOBA FETT.
Mike: For the record: I do not condone Tatooine's slavery laws.
Matt: You kind of did.
Mike: I'm just saying, the Jedi had enough going on that day.
Matt: Even if they can't afford to free Anakin's mom in the short term, after the Trade Federation is defeated, why don't the Jedis go back and buy her afterwards?
Mike: "Hey, Anakin, you're a hero!"
"Yippee! Can we go get my mom now?"
"Nah."
Matt: They were too busy buying styling products to maintain their two weird rat-tail braids to afford to free slaves.
Mike: Didn't she marry Cliegg Lars before Attack of the Clones? She wasn't a slave anymore anyway. Also, I'm sure that marriage happened honorably.
Matt: I literally have no idea who that is.
Mike: He's in Attack of the Clones.
Matt: The Metallica dude?
Mike: From the Star Wars wiki, "He purchased the slave Shmi Skywalker from Watto and subsequently freed and married her."
Matt: He's not nearly as cool-looking as Kitster. So in other words this guy, who can't even afford a razor, apparently could afford to free this woman whom the Jedi could not. For shame, Jedi. For shame. He's a moisture farmer on Tatooine, which is totally dry. So he's broke. But he could scrounge up the money to buy Anakin's mother.
Mike: And drinks blue milk. You know ... if Palpatine had told that to Anakin in Episode III, "The Jedi could have purchased your mom. But they didn't. Join me!" I would have bought that. "You know, Chancellor, that's a really good point."
Matt: If Yoda didn't have such outrageous salary demands, all this could have been averted. "Brown M&Ms in a mason jar, you will have waiting for me. Company car, you will provide me. Four-door sedan, it will be." And that's why I love The Phantom Menace: Terrible to watch, super fun to talk about.
Mike: After all this, I did love the movie the first time that I saw it. I admit, I got caught up in the hype. And it did look pretty.
Matt: After reading your piece about it, I tried to think back to my original reaction. Generally, though, I think you're right. As opposed to people having built it up so heavily in their mind that they were destined to hate it -- which is what you'd have expected to happen -- people had almost brainwashed themselves into loving it at first. But then the rose-colored glasses came off.
Mike: And there were enough cool moments to sustain a, "Oh, man, this part was great" post viewing conversation.
Matt: To me, "The Phantom Menace" is like a Jenga game in the last move before the game ends. With all the excitement of the game, you don't notice how flimsy it is. And as soon as you pull any one piece out, it all falls apart.
Mike: And then you take a toak of pot. Or, toke.
Matt: Isn't it "toke"? YOU'RE SUCH A NERD YOU DON'T KNOW HOW TO SPELL IT.
Mike: That's proof on how much I toke. OK, last thing: Are you going to see The Phantom Menace in 3D? They are not screening it for critics.
Matt: Oh good, I thought I was just left out.
Mike: Then again, you can probably just turn on Spike.
Matt: At this point, probably not. In New York City, what are the tickets? Like $18?
Mike: Yes, they are.
Matt: That's literally the price of a Star Wars Blu-ray. Unless people see it in 3D and say that the experience of seeing it in 3D is akin to seeing the face of God, I can't see myself doing it.
Mike: Perhaps the face of God is eerily similar to that of Jar Jar Binks?
Matt: Wow, wouldn't that be the kicker. Show up at the pearly gates and God's all "MEESA, SO HAPPY TO SEE YOU!"
Mike: And then God steps in CGI poop.
Matt Singer has contributed to IFC, Sundance Channel and Time Out New York. You can contact him directly on Twitter.
Mike Ryan is the senior writer for Moviefone. He has written for Wired Magazine, VanityFair.com, GQ.com, New York Magazine and Movieline. He likes Star Wars a lot. You can contact Mike Ryan directly on Twitter ]]> Wed, 8 Feb 2012 11:38:31 EST http://news.moviefone.com/mike-ryan/an-obsessive-chat-the-phantom-menace_b_1262412.html <![CDATA['Ghost Rider: Spirit Of Vengeance': Idris Elba's High-Speed Chase Goes Terribly Wrong (VIDEO)]]> Wed, 8 Feb 2012 11:16:10 EST http://news.moviefone.com/2012/02/08/ghost-rider-spirit-of-vengeance-clip_n_1262712.html <![CDATA['2 Guns': Denzel Washington, Mark Wahlberg May Team For Action Film; Who Is Denzel's Best Co-Star?]]> BEST news you've ever read? Variety reports that buyers at the European Film Market in Berlin are being told that the Universal Pictures co-financed action film "2 Guns" has found the already-attached Mark Wahlberg a co-star: Denzel Washington. While the trade paper stresses that no deals have been completed, let's take a moment to celebrate this amazing maybe-casting coup! Washington and Wahlberg. Together. In an action movie. If they get Liam Neeson in this thing, "2 Guns" -- a thriller about DEA agent and a Naval Intelligence officer investigating each other in ways that sounds reminiscent of "The Departed" -- would likely be the greatest movie ever produced. (Sorry, "Citizen Kane"!) While you wait for baited breath to see if this version of "2 Guns" actually shoots (oof!), why not help Moviefone decide where Wahlberg would fit in on Washington's extensive list of co-stars. Below, a rundown, from best to worst. (Romances like "The Preacher's Wife" are not included.) Disagree in the comments! 1. Gene Hackman ("Crimson Tide") 2. Tom Hanks ("Philadelphia") 3. Russell Crowe ("American Gangster") 4. Clive Owen ("Inside Man") 5. Ethan Hawke ("Training Day") 6. Chris Pine ("Unstoppable") 7. Dakota Fanning ("Man on Fire") 8. Kevin Kline ("Cry Freedom") 9. Matthew Broderick ("Glory") 10. Ryan Reynolds ("Safe House") 11. Annette Bening ("The Siege") 12. Russell Crowe ("Virtuosity") 13. Meg Ryan ("Courage Under Fire") 14. John Lithgow ("Ricochet") 15. Derek Luke ("Antoine Fisher") 16. Val Kilmer ("Deja Vu") 17. Angelina Jolie ("The Bone Collector") 18. Liev Schreiber ("The Manchurian Candidate") 19. Julia Roberts ("The Pelican Brief") 20. John Travolta ("Taking of Pelham 1 2 3") ]]> Wed, 8 Feb 2012 11:09:03 EST http://news.moviefone.com/2012/02/08/2-guns-denzel-washington-_n_1262696.html <![CDATA[Awards Show Challenge: Best Animated Short]]> the biggest stars in Hollywood gather to bestow Oscars on the best movies of the year. With Billy Crystal hosting the festivities once again, movie fans will be watching how many Academy Awards are racked up by "The Help," "Hugo" and more. And since we won't know who wins the big gold until that 8pm ET start-time on February 26, this is your chance to test your award show expertise. Every weekday between now and February 24, we'll post new questions about what will happen on Hollywood's big night. (Right there on the right side of your screen) Submit your best guesses and you'll automatically be eligible for a daily prize of two free movie tickets. The grand prize -- a YEAR'S worth of free movie tickets -- will be awarded to a user with the most correct predictions. Want to Win Free Movie Tickets For a Year? Keep Playing Awards Show Challenges Click here for rules. ]]> Wed, 8 Feb 2012 11:00:07 EST http://news.moviefone.com/2012/02/08/awards-show-challenge-best-animated-short_n_1262634.html <![CDATA[Catherine Hardwicke: 'Twilight' Scripts Initially 'Sucked']]> Catherine Hardwicke, the director of the first "Twilight" movie, had some unkind words about the film's initial script.

At a Sundance dinner, [Hardwicke] had been seated next to the heads of Summit Entertainment, who handed her five scripts and asked her to read them. "Every one of those scripts sucked," she says. "Oh, Lord, did they suck."

At the time, Hardwicke was best known for the critically acclaimed "thirteen," which she wrote and directed. So, if she really thought the scripts for "Twilight" were so horrible, why did Catherine eventually take the gig? Besides being allowed to do a complete rewrite, she was attracted to romance between Bella and Edward.

"I thought the script was horrible, but then I looked it up on the Internet and I thought, Okay, it's based on a book and people tend to like it. There's gotta be something there. So I read the book and I thought it captured that feeling of being madly in love. And I thought, That's kind of a good challenge, to see if, as a filmmaker, I could make you feel that giddy, crazy."

Although the rewrite Hardwicke asked for did little to sway the critical opinion of the film, it certainly helped the finished product in some eyes. "Catherine Hardwicke has a genius for getting inside the brain and is so in touch with what it's like to be a teenage girl," Bill Condon, who directed "Breaking Dawn," told Moviefone last fall. "I couldn't imagine doing that first 'Twilight.'" Despite the "horrible" initial script, the first "Twilight" went on to gross $392 million worldwide. You can read the entire interview with Hardwicke over on Vulture. [via Vulture] ]]> Wed, 8 Feb 2012 08:25:14 EST http://news.moviefone.com/2012/02/08/twilight-director-catherine-hardwicke_n_1262139.html <![CDATA['Interns': Vince Vaughn, Owen Wilson May Reunite For Comedy That Sounds Like 'Outsourced']]> du jour -- and it didn't take them long to find a honeymoon project. By August of that year, they were attached to team up again in a high-concept comedy called "Outsourced," about two recently downsized factory workers who travel to Mexico to get their old jobs back. A guaranteed hit that never materialized (Vaughn and Wilson left the project in 2007), "Outsourced" was tossed into development hell, only to see its name sullied by another "Outsourced," the unrelated NBC comedy bomb from two years ago. Flash to 2012, and it appears "Outsourced" is back. Only this time it's called "Interns" and comes from a script by Vaughn himself. The pitch, per Vulture:

Vaughn and Wilson will play forty-ish company guys who both get laid off in a downsizing. Convinced they've gone about managing their careers entirely wrong, they resolve to become interns at a Google-like dotcom and start anew. Suddenly, the two old chums are competing against wily, fresh-faced 22 year olds for advancement.

Sounds different? According to Vulture, Shawn Levy will direct this new comedy (he worked with Vaughn as a producer on "Neighborhood Watch," due this summer), having become free after Fox shuffled away his planned adaptation of "Frankenstein." Meanwhile, Vaughn is available for "Interns" because "The Insane Laws," another high-concept comedy he was set to star in with Jason Bateman, crumbled "over budget issues." Whether "Interns" actually comes to fruition remains to be seen, so don't be shocked if we're all here in another eight years discussing something called "Downsized." ("Redundancy" would follow in 2028.) [via Vulture] ]]> Wed, 8 Feb 2012 08:09:04 EST http://news.moviefone.com/2012/02/08/interns-vince-vaughn-owen-wilson-interns_n_1262179.html <![CDATA[Steven Spielberg, J.J. Abrams, And Other Prolific Movie Producers Moonlighting On Television]]> is the busy media mogul responsible for, anyway? More than other multi-hyphenates like J.J. Abrams and Jerry Bruckheimer? We did the math and figured out which big-name exec producer has bragging rights to being the busiest this season. PHOTOS: ]]> Tue, 7 Feb 2012 22:37:23 EST http://news.moviefone.com/2012/02/07/steven-spielberg-jj-abrams-tv-producers_n_1261602.html