Word: hollywoodism
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...worldwide. So like any tycoon in a growth industry, Ichise is ramping up production. In October the 43-year-old producer released two new films in Japan: Infection (featuring a haunted hospital) and Premonition (about a newspaper that describes grisly events before they happen). Meanwhile, The Grudge?Ichise's Hollywood remake of his 2002 hit Ju-on?topped the U.S. box office when it was released a month ago. "All I have to do is mention that I want to make another movie and studios line up to buy the rights," he gloats...
...Until recently, Asian horror movies?with titles like Chinese Torture Chamber Story and Reborn From Hell: Samurai Armageddon?were geared to what are politely referred to as niche audiences. That all changed in 1998 with Ichise's stylishly creepy Ringu, which Hollywood remade as The Ring. Ringu earned nearly $20 million, the sequel took in double that, and the Hollywood remake grossed $230 million. Viewers found themselves face to face with a new Asian beast: scare flicks that kept them suspended in fear, instead of grossed out by gore. As a result, says Danny Pang, co-director of the Hong...
...days. But Joel Schumacher knows that some dreams take longer than others. Back in 1988, after St. Elmo's Fire and The Lost Boys had introduced him as a promising if lightweight young American director (and before Batman Forever sealed his place in the upper reaches of the Hollywood hierarchy), Schumacher decided to see Broadway's newest hit, The Phantom of the Opera. Even before he got the chance, Andrew Lloyd Webber, its composer, called him and mentioned that he wanted to bring the play to the big screen. "Every director in Hollywood wanted to do it," Schumacher recalls. "Because...
...years of development, Ray, based on Charles’ life, does not muster any semblance of the splendor within his music. The film lacks emotional attachment on any level and fails in every way as a meaningful addition to his life and legacy. With a mix of deceitful, manipulative Hollywood story telling techniques masquerading as artistic strokes and tacky, unfocused, pop-filmmaking, director Taylor Hackford, manages to turn an amazing story of sheer will triumphing over adversity into a two-and-a-half hour mess that will damage Charles’ memory, even with Jamie Foxx’s almost...
...from the first movie, except the second time the “watch Bridget fall flat on her face in a very short skirt” routine is less vaudeville and more ritual humiliation. The movie seems to perpetuate, rather than poke fun at, the ridiculous conventions of the Hollywood romantic comedy. There are some glimpses of the old Bridget: smart, funny, wholly lacking in decorum. But these moments are outnumbered by the formulaic structure of the narrative, to the point where we’re not sure whether this is Notting Hill, Love Actually, or just some hideous amalgam...