WHAT WOULD TOTO WATCH?

A ‘Big’ change, and a hearty thank you

cftoto — Fri, 30 Sep 2011 13:02:36 +0000

I didn’t know what to expect when I bought the domain name WhatWouldTotoWatch.com back in 2007.

My wife and I had just moved to Denver from D.C., leaving behind Beltway traffic, exhorbitant home prices and a great gig at The Washington Times. I simply figured I needed a nook on the Web to call my own, and perhaps one day I’d wrangle a full-time gig out of it.

Who knew it would take four years and hundreds of blog posts before that happened?

Starting Monday, I’ll assume the position of Assistant Editor at Big Hollywood alongside my new tag team partner John Nolte. I’ll still be reviewing movies, interviewing celebrities and commenting on breaking film news. But I’ll also focus my attention on TV, music and the rest of the pop culture landscape.

I’m thrilled beyond traditional adjectives about the move. I’ll be working with the most passionate film writer on the Web and sharing my views with a vast new audience. But it also means What Would Toto Watch will no longer be updated.

That’s the heartbreaking part of what is otherwise the most dynamic change to my career.

This site demands an extraordinary amount of time, from researching blog posts to sizing photographs and weeding out most – but sadly not every – grammatical hiccup. And I’ve loved every last second of it. This film blog taught me about journalism in the 21st century, skills I plan to bring over to my new Big Hollywood perch.

But, at the risk of sounding trite, the most satisfying part has been sharing my movie views with you, the reader. It’s one thing to throw up a web site and blog until your laptop’s battery runs dry. The readers here did more than merely respond to my posts. They made me think, challenged my assumptions and gave me an occasional “atta boy” when I needed it the most. I’m not sure how they knew, but they often did.

Folks like Tink in Cali, JimmyC, EricP, K, Liz, MikeB, Heidi, Outlaw13 to name just a few made this site the kind of forum Web gurus talk about when discussing the joys of blogging.

It’s crushing to think that this chapter in my journalism journey ends here, but I hope What Would Toto Watch readers will drop by Big Hollywood to see what else I have on my mind.

Ready for ‘Footloose’ Friday?

cftoto — Thu, 29 Sep 2011 13:23:13 +0000

Even wallflowers might feel the need to cut “Footloose” this week.

Not only did the Blu-ray version of the 1984 film hit shelves on Sept. 27 – complete with star Kevin Bacon’s screen test – but the upcoming remake is getting a one-day sneak preview. The film doesn’t officially hit theaters until Oct. 14, but on Sept. 30 26 select theaters across the country and Canada will give audiences a chance to see the film first. And, if you dig what you see, you’re encouraged to Tweet your praise using #footloose to join the conversation.

Of course, none of this works if the remake fails to capture the magic of the original. Said magic mostly escaped this film critic who caught up with the 1984 version – finally – earlier this year. But never underestimate the power of dancing.

In the late 1980s I worked at a Mom and Pop video store, and “Dirty Dancing” was the biggest renting title from that era. Our store had to restructure its reservation policy because of it.

The new “Footloose” stars screen newbies Kenny Wormald and Julianne Hough in the roles immortalized by Bacon and Lori Singer. Dennis Quaid plays the reverend who doesn’t want dancing in his town. Good luck with that, Rev.

Here’s a list of the chosen movie theaters playing the film at 6 p.m. PT, 7 p.m. CT and 8 p.m. ET this Friday.

Atlanta (Regal Town Center)

Boston (Regal Fenway)

Chicago (Regal Webster Place)

Cleveland (Regal Crocker Park)

Dallas (Rave Ridgemar)

Denver (Regal UA Pavilions)

Detroit (MJR Partridge Creek)

Houston (Regal Edwards Marq*E)

Kansas City (AMC Barrywoods)

Los Angeles (AMC Century City and AMC Burbank 16)

Miami (AMC Sunset Place)

Minneapolis (AMC Southdale)

New York (Regal Union Square)

Orlando (Regal Winter Park)

Philadelphia (Regal King of Prussia)

Phoenix (Harkins Tempe Marketplace)

Sacramento (Century Roseville)

Salt Lake City (Gateway Megaplex)

San Diego (Regal Mira Mesa)

San Francisco (AMC Metreon)

Seattle (Regal Meridien)

St. Louis (Wehrenberg Ronnies)

Tampa (AMC Veterans)

Toronto (Cineplex Odeon Varsity Theatre)

Washington DC (Regal Majestic)

‘Dream House’ – Big stars, no reviews

cftoto — Wed, 28 Sep 2011 13:11:02 +0000

Horror movie fans rarely see A-listers in their favorite genre.

Occasionally we’ll get a Jack Nicholson (“The Shining”) or Anthony Hopkins (“Magic”) wallowing in the genre, but we’re mostly stuck with unknown stars angling for their big break.

To be blunt, there’s a better chance of Leonardo Di Caprio endorsing Ron Paul for president than seeing him in a “Saw” sequel.

That makes the new horror film “Dream House” such a tease. The movie co-stars Daniel Craig, Oscar-winner Rachel Weisz and Naomi Watts in an update on the standard haunted house movie. And it’s directed by Jim Sheridan, the heralded auteur behind “My Left Foot” and “In the Name of the Father.”

So why won’t the minds behind the movie let film critics see it?

“Dream House” isn’t being screened for Denver-based critics, and the lack of reviews currently appearing on Rottentomatoes.com suggests other cities are also being deprived of the chance to see it before it opens Sept. 30.

What gives?

The film’s trailer might give us a clue. It’s awful, a compendium of tired horror tropes that hardly does the cast justice.

If “Dream House” disappears like a Halloween ghost at the box office, it could coax other actors not to bother with the much-maligned horror genre. And that’s a shame.

(Photo: Daniel Craig and Rachel Weisz star in “Dream House,” a suspense thriller about a family that unknowingly moves into a home where several grisly murders were committed … only to find themselves the killer’s next target. Photo Credit: George Kraychyk /Copyright: © 2011 Universal Studios. ALL RIGHTS RESERVED.)

Toto’s Movie Review: ‘Moneyball’ (Brad Pitt, Jonah Hill)

cftoto — Sat, 24 Sep 2011 04:58:16 +0000

Oakland A’s general manager Billy Beane tried to reinvent the national pasttime by casting aside a century of sports wisdom.

The new “Moneyball,” based on Beane’s tumultuous tenure with the California club, sticks to the basics. Fine acting. Whipsmart dialogue. A Cinderella team rewriting the history books. Yes, the tale of the 2002 Oakland A’s doesn’t supply a ticker tape ending, but for most of “Moneyball” reality provides more than enough dramatic oomph to power one of the better baseball films in recent memory.

Brad Pitt shelves his actorly tics to play Beane, the young and feisty GM tasked with replacing three superstars from his 2002 Oakland A’s lineup. The team’s couldn’t afford to keep three of its biggest stars – Jason Giambi, Jason Isringhausen and Johnny Damon. So Beane, huddling with a neophyte baseball executive named Peter (Johah Hill), decides it’s time for Plan B.

They ignore the sage advice of the team’s scouts and come up with their own playbook based on the work of sports statistician Bill James. Bunting is out, on-base percentage is in. Who cares if the team’s first baseman is an error machine as long as he gets on base he’s worth it?

The strategy stuns A’s fans and leaves manager Art Howe (Philip Seymour Hoffman) pulling out the last whisps of hairs on his head. The risky moves don’t pay off – at first. The A’s stumble through the first few months of the season with little to show for Beane’s theatrics. But when Beane shakes up the roster mid-season something clicks into place. The Bad News A’s start winning, and suddenly the baseball world is buzzing about Beane’s bag of tricks.

If “Moneyball’s crackling dialogue reminds you of last year’s smash “The Social Network” it’s hardly accidental. Aaron Sorkin, who took home an Oscar for “Network’s” screenplay, co-wrote “Moneyball” along with Steven Zaillian of “Schindler’s List” fame. The movie doesn’t sacrific character for comedy, but you’ll howl all the same over Beane’s improbably story. The screenwriters capture the crusty old scouts shooting daggers at Beane during a planning meeting as nimbly as they show Beane’s daughter fretting over the heat her father is taking for his unconventional approach.

Pitt’s Beane isn’t a hero out of central casting. He’s arrogant and has little patience for those who don’t appreciate his approach to the game. Pitt’s physicality reminds us, along with some unnecessary flashbacks, that Beane was once a five-tool prospect destined for greatness. But his potential never took hold, leaving him to work behind the scenes for the game he loves despite its economic disparities.

The film builds toward the A’s remarkable winning streak that year, and it’s here where real life supplied plenty of dramatic fireworks. But “Moneyball’s” final 20 minutes is a fruitless search for the happy ending reality didn’t supply.

“Moneyball” renders baseball in all its imperfect glory, from the superstitions hanging over the teams to the ego-driven superstars on the cusp of retirement. Fans can argue about the merits of Beane’s approach, but it’s hard to imagine a livelier look at the inner workings of a small market club with big-city dreams.

(Photo: Brad Pitt plays an unconventional GM trying to bring a pennant to a small market club in “Moneyball.” Sony Pictures)

Should Statham stretch or simply keep smashing skulls ad nauseum?

cftoto — Thu, 22 Sep 2011 21:23:42 +0000

Actor Jason Statham was born to be an action movie star.

Just look at that bullet-shaped dome of his. It’s practically a weapon unto itself. But is anyone getting tired of seeing him breaking bones with alacrity?

Film critics put Statham leagues ahead of fellow action stars like Steven Seagal and Arnold Schwarzenegger. And rightfully so. Statham can act, and on the rare occasions he’s asked to dramatically carry a scene, as he does in “The Bank Job,” he acquits himself beautifully.

So … why not tackle a character study or simply an action film that doesn’t arrive with the adjective “formulaic” attached to it?

Perhaps “Killer Elite,” Statham’s latest knuckle buster, will push him out of his cinematic comfort zone. He plays a retired assassin drawn back into the business to rescue an old pal (Robert De Niro).The film comes on the heels of the underwhelming remake of Charles Bronson’s “The Mechanic,” another film which failed to fully explore Statham’s range.

There’s something to be said about knowing your strengths and sticking to them. Statham appears to do just that in “Elite,” which opens Sept. 23.

Where do you stand on Statham? Should he try to broaden his film roles or stick to what made him a star?

(Photo: Jason Statham stars in the action thriller “Killer Elite,” opening nationwide September 23rd. Photo credit Dan Smith/Open Road Films.

Can Lautner break the ‘Twilight’ curse?

cftoto — Wed, 21 Sep 2011 14:30:41 +0000

The “Twilight” franchise made stars out of Robert Pattinson, Kristen Stewart and Taylor Lautner. But is there life after vampires and werewolves?

The trio’s post-”Twilight” projects have ranged from commercial duds (“Remember Me,” “The Runaways”) to films which all but bypassed theaters (“Welcome to the Rileys”). The biggest film starring a “Twilight” alum remains “Water for Elephants,” but Pattinson’s period drama made a fraction of what an average “Twilight” film hauls in.

Now, it’s Lautner’s turn to flex more than just his impressive guns at the box office.

In “Abduction,” Lautner is entrusted with a wannabe franchise about a man who learns his life is a lie and must find out the truth about his identity.

I’ve gone on record saying Lautner is terrible in the “Twilight” films, all clenched jaws and numb gazes. He could be playing down to the material, or perhaps he needs a director who can draw out something we’ve yet to see from him. “Abduction” director John Singleton wisely surrounds Lautner with pros (Maria Bello, Alfred Molina, Sigourney Weaver), but that could end up making the young actor appear even worse by comparison.

“Abduction” should be the best evidence yet whether Lautner can act AND put fannies in the seats. His own studio doesn’t seem confident in its star, though. Lionsgate isn’t showing it to critics ahead of its Sept. 23 opening.

(Photo: Taylor Lautner and Lily Collins star in “Abduction,” the new Lionsgate film directed by John Singleton. Photo credit: Bruce Talamon)

Where did Bridget Fonda go?

cftoto — Mon, 19 Sep 2011 23:27:04 +0000

When director Quentin Tarantino taps you for his latest movie project it’s usually very good news, indeed.

Just ask John Travolta, one of several stars QT resurrected with a simple “Pulp Fiction” casting call. Or Christoph Waltz, the German actor who went from unknown to Oscar winner following “Inglourious Basterds.”

But the opposite happened with Bridget Fonda. The beautiful blond actress was already making a name for herself in film before she got cast in Tarantino’s 1997 film “Jackie Brown.” But that movie, coming to Blu-ray for the first time Oct. 4, marked the start of her career descent.

She followed up “Jackie Brown” with the excellent drama “A Simple Plan,” but that’s the last consequential film on her resume. Her imdb.com credits essentially stop in 2002 with the TV movie ‘Snow Queen.”

Did Fonda lack the chops of her famous acting brood – son of Peter, grandson of Henry? Or was it simply a case of how competitive the acting business is, particulary for women who know over their shoulder stands a younger, prettier version of herself just dying for a part?

Why isn’t ‘Blue Sunshine’ a bigger cult smash?

cftoto — Mon, 19 Sep 2011 15:38:18 +0000

This week’s DVD release of “Blue Sunshine” won’t sell as much product as “Bridesmaids.”

But it could boost the 1978 film’s existing cult status up a few notches.

Sure, some folks already know all about “Blue Sunshine,” the tale of a mysterious condition which causes people to lose their hair and become homicidal maniacs. But the film’s fresh home video release should expose it to a new generation eager for more ’70s-style horror.

Let’s be straight. “Blue Sunshine” is no classic in the traditional sense.

The acting ranges from indifferent to insulting, and the scares are more likely to inspire chuckles, not goosebumps. But it’s got that eerie ’70s vibe, from the creepy soundtrack to the sense that you don’t know precisely what will happen next.

And it’s hard not to cheer when a bad guy is driven to distraction by disco music, or a cheap scare moment involves a parrot flying out of a closet.

Perhaps the best element in “Blue Sunshine” is star Zalman King, best known for directing erotic fare like “Two Moon Junction” and “Red Shoe Diaries,” the latter spawning a Showtime series.

King is not your average hero. He’s odd and distracted, a man accused of a crime he didn’t commit who often acts like he has all the time in the world to prove his innocence. His line readings are precious, and so is his way with the ladies.

The oddest element in a very odd movie is how the narrative swats the Woodstock generation. It’s hard to say more without revealing too much, but suffice to say there’s a price to be paid for dropping acid.

Toto’s Movie Review: ‘Drive’ (Ryan Gosling, Carey Mulligan)

cftoto — Fri, 16 Sep 2011 16:41:57 +0000

In “Crazy, Stupid, Love.” Ryan Gosling had the gift of gab playing a ladies man cut down to size by love.

His follow-up role in “Drive” finds the actor channeling his inner Steve McQueen. He communicates chiefly through long, penetrating stares. That might be disastrous for many actors, but Gosling can deliver without uttering a syllable.

It helps that the rest of “Drive” throbs with intensity, from an understated turn by Carey Mulligan to a rare burst of darkness from cinema’s clown prince, Albert Brooks.

Gosling plays a man simply known as the Driver, a Hollywood stunt man by day and getaway guru at night. The latter gig kicks off the film in nerve-wracking style. This Driver doesn’t want to get involved with his assignments. He simply drives the car, period.

That sense of detachment fails him when he meets Irene (Mulligan), a troubled young mom whose hubby (Oscar Isaac) is about to be released from jail. Our Driver develops a quick crush on Irene, but when her hubby ends up needing some help to stay out of trouble the Driver decides to offer his unique services to protect him.

Meanwhile, an L.A. mobster (Albert Brooks) and his high-strung partner (Ron Perlman) decides to fund the Driver’s fledging race car career, a subplot which teases but never quite delivers. The same can’t be said of Brooks, who looks invigorated to be let loose from his funny guy shtick.

“Drive” could have contented itself with the standard genre thrills – fast cars, forbidden romances and a sullen leading man. It’s a formula that’s hardly broke, but director Nicolas Winding Refn (“Bronson”) shatters it all the same. Gosling’s Driver rarely speaks, but his complicated emotions are visible in every frame. His relationship with Irene is a thing of quiet beauty, a dance of gestures that speak more loudly than most on-screen pairings.

The violence found elsewhere in the film proves abrupt and jarring, and the same can be said for the car chase sequences peppering the narrative. If “Drive” has a glaring flaw it’s the film’s final 15 minutes, in which the story threads come together in perfunctory fashion.

“Drive” gives Gosling yet another showcase to flash his acting chops, but it’s a better example of how a genre movie can aspire to something better with enough attention to detail.

(Photo: Ryan Gosling plays a man whose livelihood rests on his car skills in “Drive.” Film District)

Is there a better young actor today than Ryan Gosling?

cftoto — Thu, 15 Sep 2011 18:32:03 +0000

Mrs. What Would Toto Watch isn’t exactly a movie buff. When we first started dating she couldn’t pick Al Pacino or Robert De Niro out of a lineup.

Since then, I’ve introduced her to a gaggle of great films, and she’s grown to appreciate movies even if her passion can’t match mine. Yet, she’s still nonplussed about the actors I meet for my job, or even the stars we see on the big screen.

But Ryan Gosling is another matter.

She watched him strut his considerable stuff in “Crazy, Stupid, Love.” and became the proverbial school girl in his presence. It’s one reason why I know Gosling is arguably the best young actor around. Sure, acting chops and sex appeal aren’t necessarily joined at the hip. But the Missus wasn’t responding solely to his abs or handsome mug.

Gosling’s character in “Crazy, Stupid, Love.” is exactly the kind of fellow my wife despises in real life. He’s cocky and calculating, a ladies’ man with who assumes any woman would kill to spend the night with him. And she fell for him all the same. He’s simply that magnetic in the role, daring you to judge him or even look away. Gosling took a cardboard character and made him human.

The actor took a modest step back with the recent indie misfire “All Good Things,” but his bravura turn in “Blue Valentine” revealed an actor capable of flashing tenderness and cruelty within the space of a single conversation.

In “Drive,” opening Sept. 16, Gosling gets to play another uber-cool character sure to set female heart’s aflutter. He’s a Hollywood stunt man who moonlights as a getaway car driver. The early reviews hint the film is far from your standard genre picture, but simply knowing Gosling is the star guarantees at least one smitten lady can’t wait to see it.

(Photo: Rising star Ryan Gosling plays a stunt man who uses his skills to help a young mother in “Drive.” Film District.)