Sweeney Todd deserved a better fate. Sure, sure, it's a very fine film -- and that's really all that matters when all is said and done, but I can't help but think its domestic box office tally (just over $50 million) and its Oscar nomination haul (lead actor, art direction and costume design) should have been a little ... well, bigger. But I suppose it's tough to sell a big-budget horror musical, even if it is based on a very popular stage play AND showcases movie star Johnny Depp in a really (ahem) unique light.
Fans of the flick will be pleased to learn that Tim Burton'sSweeney Todd: The Demon Barber of Fleet Street will be available to own (via shiny disc) on the first of April. Choose between a single-disc release (which includes one "making-of" documentary) or a extras-laden double-disc edition that comes with a BUNCH of featurettes, photo galleries, trailers and a Moviefone Unscripted piece, which is cool because we love Moviefone! Neither DVD package will include an audio commentary, unfortunately for those who love audio commentaries. Like me. Oh, but the 2-discer will be making an appearance in my collection. Book that.
See, in case you didn't read Erik and Scott's ravings about Cloverfield, you should be aware that this monster movie is a must-see-right-away kind of event. But it's not just that the movie is apparently awesome that makes it necessary viewing on opening weekend. An awesome movie can be seen anytime during its release. But Cloverfield is one of those kinds of movies you have to see before your friends ruin it for you. And by friends I mean internet bloggers, forum posters and Facebook acquaintances. And by ruin it I mean commenting on what the monster looks like, how (if?) it's killed, and other plot points and spoilers. By the time Marcus does reach an agreement to show Cloverfield, it may be too late. Nobody's going to be seeing this movie in its third week or beyond.
Rejoice Midwesterners: Marcus Theatres is finally showing Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street! Last month, I wrote in my column on the story of Marcus' inability to reach an agreement with Paramount on the split of the movie's box office, and the cinema chain's subsequent decision to not show the film. For many people in Wisconsin, Illinois, Ohio, North Dakota, Iowa and Minnesota, that meant not being able to see the musical unless they drove hundreds of miles out of their way to an area with a non-Marcus-owned movie theater. I'm sure some huge Johnny Depp fans and Burton loyalists made the trek, thinking they'd otherwise have to wait for the DVD to come out. But Marcus and Paramount have now worked out a deal, likely because the movie has been out long enough for Paramount to be satisfied with the box office share it squeezed out of the country's other theater owners. Or maybe the studio realized that with a gross of only $40 million in three weeks, the movie wasn't as in demand as it had thought. Starting today (Jan. 11), 15 of Marcus' 49 locations will be showing the dark Sondheim adaptation.
I haven't yet seen Sweeney Todd. I wish I could say that I've been boycotting the film in support of Marcus Theatres, but in all honesty I've simply been choosing other better-looking movies to see (including The Diving Bell and the Butterflyand There Will Be Blood). Coincidentally (or not, maybe the company is doing it to spite the studios), Marcus has also decided to highlight these better-looking movies, which all qualify as "art films". The chain is calling this new programming of foreign and independent films "Critic's Choice"; the purpose is to call to attention "acclaimed and smaller films that are in limited release or might otherwise go unnoticed." Titles include Diving Bell, Junoand No Country for Old Men. Between those films and Sweeney Todd, Marcus patrons should now be fully prepared when they sit down to watch the Golden Globes press conference this weekend.
Although screenwriter Diablo Cody is clearly the "breakout" star of the Juno story, I'm sure she'd admit that without Ellen Page, the movie wouldn't be quite so special. Movie fans first took note of the diminutive gal's talents in the chilling Hard Candy, and the blockbuster fanboys fell for her hard in X-Men: The Last Stand -- but it's pretty safe to say that Juno is her "star-making" role -- and it couldn't happen to a cooler girl. We predict a Globe win, an Oscar nomination, and ... well, let's not jinx the woman!
No Country for Old Men could go on to win Best Director at the Oscars, but unlike the Academy, the Hollywood Foreign Press will actually recognize both of the Coen Brothers. Everyone knows that Ethan and Joel co-direct their films, but due to Director's Guild and Academy rules, only Joel is allowed credit for them. Therefore their win of the Golden Globe for Best Director will be the better honor. And boy do they deserve it! With No Country, they've delivered a stunning film that exemplifies the two major dimensions of the craft: visual storytelling and management of the acting performances.
The Klingon death blade you see Diablo Cody wielding here is what she used to slay the other box-office contenders over the weekend. Juno leapfrogged from number ten -- already respectable for such a small film -- to number five, coming in just behind Charlie Wilson's War and I Am Legend with an impressive $10.3 million. These numbers were enough to cause Fox Searchlight to press the big button -- Juno will now expand to 2,000 screens next weekend. So far, the film about a wise-ass 16 year-old who becomes pregnant and decides to carry the baby to term and give it up for adoption, has brought in a total of $25.7 million. This puts it well on track to blow Little Miss Sunshine, its equivalent from last year, totally out of the water -- LMS only brought in $59.8 million domestic total.
In other box office news, Cage continued to hold the top spot with National Treasure: Book of Secrets bringing in $35.6 million. In nine days, the film has pulled in $124 million. Meanwhile, although I Am Legend slipped down to the number three slot this weekend, it still pulled in $27.5 million and is just on the verge of breaking the $200 million mark. It will be interesting to see if National Treasure can gain ground on Big Willy over the next few weeks -- it seems to be the film with the most staying power at the moment, but Legend has a big head-start. Sweeney Todd also stayed strong this weekend, bringing in $8 million for a ninth-place finish. Atonement, on the other hand, has yet to find its audience, which will hurt its Oscar front-runner status.
As everyone's been saying for months now, there are going to be two basic camps of people seeing (and talking about) Tim Burton's screen adaptation of Sweeney Todd: those who've seen and love the musical on stage (and/or those who generally go into orgasms of ecstasy for Stephen Sondheim in general), and those who've never seen the stage version, but who generally go into orgasms of ecstasy for all things Burton. There are, no doubt, those who loathe Burton, but if you loathe Burton, why would you go out of your way to see one of his films anyhow?
At any rate, I fall into the second camp -- love Burton, never seen Sweeney Todd on stage. I went into the film knowing only the basic storyline, and that it was gory, and that it was directed by Burton and stars Johnny Depp. That was enough for me to want to see the film, and I wanted to see it not knowing more than that, so I've been avoiding as much as possible all the buzzing about the film on other sites. I even set aside the cool hardcover Sweeney Todd production book that arrived in the mail last week to savor after the screening, so I'd go into the film with as fresh an eye as possible.
The film opens with rivers of bright red blood flowing through the cobblestone cracks of a London nearly as dismal as the Paris we met in the opening of Tom Tykwer's Perfume: The Story of a Murderer(one of my favorite films of last year). Much as Sweeney Todd is going to be compared to Burton's Charlie and the Chocolate Factory and Edward Scissorhands, for me, right from the opening credits, it evoked Perfume more. After zooming us through a cramped, filthy, dismal London, Burton takes us onto a ship arriving in London, where we meet the beautiful and aptly named young sailer Anthony Hope (Jamie Campbell Bower, who's almost -- but not quite -- prettier than Depp), singing "No Place Like London," in which he's joined by his friend Benjamin Barker (Depp), freshly escaped from an Australian prison and returning home to a London he views with a far darker and cynical eye than the fresh-faced sailor. From the first words Barker sings -- and more, from the way Depp acts the part -- we get a sense of just how dark his story is going to be.
In an interview for Sweeney Todd over at the Telegraph, Sacha Baron Cohen goes into lots of detail about the process of learning to sing for the role. He tells a long anecdote about having his mother look up a singing teacher for him in the Yellow Pages, and then finding out the woman not only never heard of him, but also never heard of Tim Burton, Johnny Depp or the musical Sweeney Todd. "I ignored everything she said and went to the set the next day," he says. When made to audition for Sondheim, Cohen says he was unable to hit a crucial high note, but came up with a unique solution -- "I brought in a very fat female opera singer to sing the final note." Apparently, that was good enough to gain him Sondheim's approval.
Cohen also talks at length about his alter-egos Ali G and Borat, and says that he's come to realize that the popularity of the Borat movie means he'll never be able to do the character again. "Admitting I am never going to play them [Borat and Ali G] again is quite a sad thing," he says. "It's like saying goodbye to a loved one. It is hard, and the problem with success, although it's fantastic, is that every new person who sees the Borat movie is one less person I 'get' with Borat again, so it's kind of self-defeating form, really. It's upsetting, but the success has been great." Of course, the interviewer tries to get some info out of Cohen about Bruno, the next character he'll be taking to the big screen, but Cohen pretty much stops him cold. He's not opening his mouth about that.
Just how strange are the Golden Globes? Is Atonement a sure-fire, dead-lock Best Picture winner, or has it stumbled with the Academy before the race was even begun? Did Francis Ford Coppola "cut his own throat" with the release strategy for Youth Without Youth? And, speaking of cutting throats, will Sweeney Todd seduce the Academy, or have its hopes been washed away with the arterial spray? Joining James this week is David Poland, the critic, blogger and raconteur behind Movie City News as well as the wildly contentious, always insightful The Hot Blog. Listen in this week as James and David talk about the BFCA nominations from the inside, discuss the tarnished-yet-telegenic schizophrenia of the Golden Globes, and much more! And finally -- new this week on for The Rocchi Review -- you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
I decided to write this because each and every week I have people sending me things that I simply HAVE to do, or see or look forward to. I'm sure it's the same for you; you'll be chatting with a friend online, and they'll throw something out and follow it up by saying: "Dude, you HAVE to do it!" I take it that's how Norbit made so much money at the box office. But anyway, here are a few things that are hip this week (in my life) and maybe yours too ...
Sweeney Todd: The Demon Barber of Fleet Street -- The first critics screening is what did it, and since then -- in only a week or so -- the new Tim Burton flick has reached cult-like buzz status. Almost everyone I've spoken with is telling me to see it, even though they haven't seen it, which kinda doesn't make much sense. But the folks that have seen it are loving it, and so this week it's hip to want to see Sweeney Todd. Additionally, feel free to submit questions for Tim Burton and Johnny Depp for Moviefone's Unscripted session. (Actual quote: I've heard it's Burton's best film since Beetlejuice!")
Walk Hard Tour -- We posted about this earlier today, and already almost all the shows are sold out. In case you're wondering what I'm talking about: To promote his new film Walk Hard: The Dewey Cox Story, John C. Reilly is touring the country and performing tunes from the movie in local rock bars. I caught wind of this early yesterday, and since then a number of people have asked me how to get tickets to see him at The Knitting Factory in New York City. We're currently working on getting some of our readers tickets for this thing, so stay tuned and be excited. (Actual quote: If I meet John C. Reilly, do you think it would be weird if I geeked out a bit over Boogie Nights?")
Facebook -- This social networking site has been around for some time now, however I finally caved into the peer pressure and created a page yesterday. While browsing, I was amazed to discover just how many people I knew who were on this thing. At one point, I half expected my mother to show up. Cinematical is currently in the process of setting up our own Facebook page, but in the meantime feel free to look me up (by name or by searching Cinematical), share movie tips with me and read the latest stories on Cinematical. A bunch of us Cine writers are also on there (like Rocchi, Patty, Jessica and Snider), so be sure to say hello. This week, it's hip to have a Facebook page. (Actual quote: Dude, f*ck MySpace -- Facebook is where it's at!")
Speed Racer -- You might not think it's hot at the moment, but wait until later this week. We definitely have something special in store for you ...
Heeeeeere's Johnny! No, really. He's here, or he will be on Wednesday, December 5. By "Johnny," of course, we mean the man better known to fans of Pirates of the Caribbean and 21 Jump Streetas Johnny Depp; and by "here" we mean right here in Moviefone's studios, answering your questions with director Tim Burton as part of our Unscripted interview series.
Depp is starring in one of the most anticipated films of the season, and that's Sweeney Todd: The Demon Barber of Fleet Street, the Stephen Sondheim musical that's finally getting the lavish on-screen treatment it's due. At the helm is frequent Depp collaborator Tim Burton; and if you've ever been lucky enough to catch the musical, you'll know that Burton is perfect to direct the dark and twisted tale of Sweeney Todd (Depp), "the demon barber of Fleet Street," who, with the help of his landlady (Helena Bonham Carter), kills people and bakes them into scrumptious meat pies. It's sort of like Waitressexcept with killing, crazier hair ... and singing!
There's been a ton of Oscar talk around the movie, Depp, Burton and Bonham Carter, and now's your chance to interrogate both Depp and Burton for yourself. Hit Captain Jack and, uh, Mr. Burton with whatever you're dying to know, then check back the week of December 17 to see if your question made it on the air.
To submit a question, you can leave it here in the comments, or you can text one to AskCelebs@aol.com (brought to you by Verizon Wireless). Please provide your first name and your city and state, and if you're looking for inspiration, then take a look at some of our past Unscripted interviews here. Good luck!
Several people who have attended the first critic's screenings of Sweeney Todd-- a.k.a., not me -- are declaring themselves totally wowed, although they're all bending over backwards to respect an embargo. Jeff Wells at Hollywood-Elsewhere was so impressed by the film that he declared Tim Burton's decade-long decline to be now officially reversed. He also speculated that Sweeney Todd may be Burton's best film since 1988's Beetlejuice -- high praise, indeed. Wells even goes a little overboard, stating that "at times it melted me like a candle. I was lifted, moved. I was never not aroused." Okay, we get it Jeff -- the movie better live up to that embarrassing hyperbole.
Tom O'Neil at The Envelope starts his review thusly -- "'Sweeney Todd' is the best pic of 2007" -- pretty straightforward, no? "Everybody whose opinion I pooled after the screening tonight said they thought the movie and Johnny Depp were brilliant," he goes on to say. But like Wells, he thinks the film may see its Best Picture hopes held up by a childishly heavy focus on gore. There are apparently rivers of blood in this film, to the point that even some who enjoyed the film tremendously claimed to be turned off by that aspect.
David Poland joins the chorus of cheers, predicting that Depp will win the Best Actor award for his performance as the demon barber and saying that the film demands multiple viewings just to take it all in. Okay, you've twisted my arm -- I'll go see it.
A new Sweeney Todd making-of featurette has hit the internet, and any fan of either Johnny Depp or Tim Burton's well advised to check the footage out; of course, as with any piece of marketing making-of material, what the piece doesn't say is almost as interesting as what it does. One of the more notable bits in the featurette is how it almost seems to be bracing audiences for how violent the movie's going to be; this is, after all, a movie about a mass-murderer. Alan Rickman notes with a jovial grin that "There'll be loads of blood spraying all over the place, so if that's your thing, you're going to have plenty of it. ..." So, then, squeamish moviegoers: You can't say you haven't been warned.
Another sequence in the piece offers an in-depth look at the title character's implements of death, the straight razors he used to wield bloodlessly as a barber. After several close-up shots of the wicked-looking blades, Burton notes of Sweeney's tools that "The razors are just an extension of him, really." We then cut to Depp, in character, holding a razor aloft and exclaiming "My arm is complete again. ..." Depp, Burton and a lead character with a sharp object at the end of his wrist; I guess someone thought that it might be wise to evoke the visuals (if not the gentler spirit) of Edward Scissorhands.
But with all the warnings of bloodshed and the invocation of past collaboration in the spot, it's still notable that the piece doesn't mention the film's musical nature, and only includes a brief section of a musical number -- and even that's more spoken than sung by Depp. I guess the question is: Are modern audiences more afraid of musical numbers than bloodshed? And is DreamWorks actively trying to hide Sweeney Todd's Broadway origins?
He can sing! He can sing! The first few trailers for Sweeney Todd: The Demon Barber of Fleet Street haven't really focused on the musical aspects, which left some of us wondering why they'd deliberately leave that stuff out. Was it because musical movies are hard to market? Was it because Johnny Depp sounds worse than a horse does during a rectal exam? Or were they saving the film's best moments for right before release? Well, good news is Sweeney Todd is receiving tons of fabulous buzz, and you can now add to that a new video featuring Depp singing his sweet ass off in the recording studio, as well as on screen. Yup, it's a short, but enticing look at Depp laying down the tracks, as well as what the songs look like when they're magically transplanted into the actual film. And, honestly, I just dig everything about this movie -- if anything, these new clips of Depp belting out his lines has me wanting to see Sweeney Todd even more.
Six new posters for Sweeney Todd have also arrived online, and we've built a little gallery below for you to check them out. I believe there were a bunch before these six that were previously released, so adding these to those means there are roughly 700 Sweeney Todd posters currently circling the internets. Nice. The film, directed by Tim Burton, arrives in theaters on December 21.
Well it looks like we can chalk up another victim of the writers strike. Right after news broke that The Weinsteins had put their big-screen version of the musical Nine on hold, it now looks like Johnny Depp's Shantaram will be joining the list of casualties as well. Varietyreports that Warner Bros. has halted production on the adaptation of Gregory David Robert's best-selling novel. Depp was set to co-produce and star in the drama about "an Australian heroin addict who escapes a maximum-security prison, reinvents himself as a doctor in the slums of India and eventually uses gun-running and counterfeiting skills to fight against the invading Russian troops in Afghanistan". Mira Nair had signed on to direct back in January after Australian director Peter Weir left the project due to those pesky "artistic differences".
As was the case with The Weinsteins Nine, Shantaram's delay was a direct result of the strike. Mainly because it meant there was zero chance of any re-writes taking place before the film was set to begin shooting. According to Variety, screenwriter Eric Roth (Forrest Gump) was working on the project until the very last minute before the strike. But when combined with the problems securing a location for the shoot due to monsoon season in India, it looks like the film is going to be put on hold for the foreseeable future. I wouldn't worry though, the film has been a passion project for Depp for some time now, so I doubt he will let if fall by the wayside. There is no word yet on whether Depp is looking for a replacement project in the meantime, but stay tuned for any updates that come our way.
Sweeney Todd deserved a better fate. Sure, sure, it's a very fine film -- and that's really all that matters when all is said and done, but I can't help but think its domestic box office tally (just over $50 million) and its Oscar nomination haul (lead actor, art direction and costume design) should have been a little ... well, bigger. But I suppose it's tough to sell a big-budget horror musical, even if it is based on a very popular stage play AND showcases movie star Johnny Depp in a really (ahem) unique light.
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