Category: Movies

S. Craig Zahler’s “Brawl in Cell Block 99”

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 S. Craig Zahler [writer/director of the under-rated Bone Tomahawk] will start production this summer on Brawl in Cell Block 99 with Vince Vaughn in the lead.  If the title alone isn’t enough to get you in line for a ticket, maybe this will…

Vaughn will play a former boxer named Bradley who loses his job as an auto mechanic and goes to work as a drug courier for an old friend. This vocation improves his situation until the terrible day that he finds himself in a gunfight between a group of police officers and his own ruthless allies. When the smoke clears, Bradley is badly hurt and thrown in prison, where his enemies force him to commit acts of violence that turn the place into a savage battleground.

Can I get my ticket now?

Source: Entertainment Weekly.

10 Out-of-This-World Facts About “Plan 9 From Outer Space”

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Mark Mancini and Mental_Floss present 10 Out-of-This-World Facts About Plan 9 From Outer Space.  Here are three of my favorites…

1. IT WAS BELA LUGOSI’S LAST MOVIE.
A lifelong Bela Lugosi fan, Ed Wood was able to cast his idol in 1953’s Glen or Glenda. Two years later, the director gave him a Dr. Frankenstein-like role in Bride of the Monster. For his next film, Wood once again wanted Lugosi to take center stage. At the California home of Swedish wrestler Tor Johnson—who’d also appeared in Bride of the Monster—Wood shot a handful of very brief scenes, all starring Lugosi. Depending on who’s telling the story, this footage was either intended for Plan 9 or for an unmade movie called The Vampire’s Tomb. Regardless, Lugosi sadly didn’t live to see any of it reach the silver screen. The horror icon died of a heart attack in August 16, 1956. Endlessly resourceful, Wood threw all of his existing Lugosi shots into Plan 9 from Outer Space.

2. A CHIROPRACTOR PLAYED LUGOSI’S DOUBLE.
Production on Plan 9 from Outer Space began in earnest after Lugosi’s death. Since he was no longer around to film certain scenes, Wood recruited chiropractor Tom Mason as a substitute. Physically, he wasn’t a perfect stand-in; Mason was noticeably taller than Lugosi (a fact that Wood tried to disguise by having him hunch over). But the good doctor made sure to mask his face under a cape at all times.

4. IN SOME VERSIONS OF THE FILM, YOU CAN SEE THE SHADOW OF A BOOM MIKE IN THE BACKGROUND.
Perhaps unsurprisingly, Plan 9 has numerous bloopers. For example, the grave scenes use plywood tombstones, which wobble throughout the movie. But Wood’s team wasn’t responsible for every error. Early on, we see our hero—pilot Jeff Trent—flying a plane when a huge burst of light almost blinds him. Viewers may also notice that, as he recoils, a boom microphone shadow appears on the back wall of the cockpit. Look carefully, and you’ll also observe that Trent’s co-pilot is holding a copy of the script in his lap. Both of these gaffes were created when Plan 9 was converted to a film and TV-friendly format. Neither the script nor the boom mike shadow appeared in the original theatrical version. Unfortunately, the aspect ratio changes made to Plan 9 for its video and TV releases suddenly rendered both of these things visible.

14 Up-Tempo Facts About “Saturday Night Fever”

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Eric D. Snider and Mental_Floss present 14 Up-Tempo Facts About Saturday Night Fever.  Here are three of my favorites…

6. IT HAS SOME ROCKY CONNECTIONS.
First connection: It was supposed to be directed by John G. Avildsen, whose previous film was Rocky. Ultimately, that didn’t work out and Avildsen was replaced with John Badham a few weeks before shooting began. Second connection: Tony has a Rocky poster on his bedroom wall. Third connection: Saturday Night Fever’s 1983 sequel, Staying Alive, was directed by … Sylvester Stallone.

8. THE WHITE CASTLE EMPLOYEES WEREN’T ACTING WHEN THEY LOOKED SHOCKED. 
In the brief scene where Tony, his boys, and Stephanie are loudly eating at White Castle, those were the real burger-flippers, not actors. Badham told them to just go about their business. He also told his actors to cut loose and surprise the White Castlers in whatever way they saw fit. The shot that’s in the movie appears to be a reaction to Joey standing on the table and barking, but Badham said it was actually in response to something else: “Double J (actor Paul Pape) pulling his pants down and mooning the entire staff of the White Castle.”

11. THE COMPOSER HAD TO SCRAMBLE TO REPLACE A NIXED SONG.
For Tony and Stephanie’s rehearsal scene about 30 minutes into the movie, Badham had used the song “Lowdown” by Boz Scaggs, going so far as to shoot the scene, including the dialogue, with the song actually playing in the background. (That’s usually a no-no, for exactly the reasons you’re about to read about.) According to Badham, no sooner had they wrapped the scene than Scaggs’ people reached out to say they couldn’t use the song after all, as Scaggs was thinking of pursuing a disco project of his own. Badham now had to have the actors re-dub the dialogue (since the version he’d recorded was tainted by “Lowdown”); what’s more, he had to find a new song that would fit the choreography and tempo of the dancing. Composer David Shire rose to the occasion, writing a piece of instrumental music that met the specifications, and that’s what we hear in the movie.

16 Lively Facts About “Death Wish”

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Roger Cormier and Mental_Floss present 16 Lively Facts About Death Wish.  Here are three of my favorites…

4. CHARLES BRONSON AND HIS AGENT DISAGREED ON THE FILM’S MESSAGE.
“It’s the only time Paul Kohner, my agent, ever disagreed with me about a film,” Bronson said in 1974. “Paul felt very strongly that it was a dangerous picture—that it might make people think it’s right to take the law into their own hands. This is what the hero of the picture does when he wants a one-man vigilante squad to kill muggers, after three of them have murdered his wife and raped his daughter. I told Paul I thought the message was the same there that runs through a lot of my pictures: That violence is senseless because it only begets more violence.”

6. DENZEL WASHINGTON MADE HIS ON-SCREEN DEBUT IN THE MOVIE.

Denzel Washington’s acting debut as a thug was, unfortunately, uncredited. He was 19 years old at the time.

16. SYLVESTER STALLONE WANTED TO REMAKE IT.
Sylvester Stallone was set to direct and star in a Death Wish remake for MGM back in 2008. While that project, uh, died, it was recently reported that Paramount and MGM are teaming up to remake the movie—with Bruce Willis starring.

13 Action-Packed Facts About “Rumble in the Bronx”

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Anna Green and Mental_Floss present 13 Action-Packed Facts About Rumble in the Bronx.  Here are three of my favorites…

2. JACKIE CHAN WANTED IT TO BE HIS BREAKOUT AMERICAN FILM.
Throughout the 1980s and 1990s, success came easily to Chan in Asia, where his movies were consistently box office hits. But America was a completely different story. Rumble in the Bronx marked his fourth attempt to break into Hollywood. Previously he’d starred in Robert Clouse’s Battle Creek Brawl (1980) and appeared in The Cannonball Run (1981) and The Protector (1985). But none of those films made much of an impact for Chan. For Rumble in the Bronx, he decided it was time to take things into his own hands: Instead of looking for the right role in a big-budget Hollywood film, he decided to make a Hong Kong film that could work as a cross-over hit.

8. CHAN DECIDED TO MAKE RUMBLE IN THE BRONX AFTER TURNING DOWN A ROLE IN DEMOLITION MAN.
Before he decided to make Rumble in the Bronx, Chan was hoping to find his breakout role in an American movie. He was friends with Sylvester Stallone, who repeatedly offered him roles in his upcoming films—which Chan, for one reason or another, repeatedly turned down. In I Am Jackie Chan, Chan recalled, “Another film Stallone offered me was Demolition Man, a movie with Sandra Bullock from the movie Speed. He wanted me to play a super villain running loose in the far future, chased by a super cop, played by him. I didn’t feel right about that role either. It ended up going to Wesley Snipes—so the two people I’d wanted to work with, and couldn’t, ended up working with each other.”

11. ROGER EBERT COMPARED CHAN TO FRED ASTAIRE.
“Any attempt to defend this movie on rational grounds is futile,” Roger Ebert wrote in his review of the film. “Don’t tell me about the plot and the dialogue. Don’t dwell on the acting. The whole point is Jackie Chan—and, like Astaire and Rogers, he does what he does better than anybody.”

27 Things We Learned from Roger Donaldson’s “No Way Out” Commentary

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Rob Hunter and Film School Rejects present 27 Things We Learned from Roger Donaldson’s No Way Out Commentary.  Here are three of my favorites…

25. The ending of the film was apparently “controversial” at the time as audiences are on the side of Costner’s character throughout only to be stung by the final revelation. He was happy that people kept the secret and wonders if that aided the word of mouth and the film’s success. Can you imagine this movie opening in today’s internet culture?

21. The shot of Susan falling to her death was filmed with her standing upright on a dolly being pushed towards a wall that had been made up like the floor complete with a glass table.

4. The film is based on Kenneth Fearing’s novel, The Big Clock, but Donaldson thought it was an original script all the way through production. “I was at a party and ran into Mel Gibson, and he said ‘Oh I heard you made the remake of The Big Clock.’”

13 Infamous Facts About “Bonnie and Clyde” the Movie

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Eric D. Snider and Mental_Floss present 13 Infamous Facts About Bonnie and Clyde.  Here are three of my favorites…

2. FAYE DUNAWAY’S STAR-MAKING PERFORMANCE ALMOST DIDN’T HAPPEN.
Warren Beatty, doing double duty as star and producer, and director Arthur Penn considered many other actresses first, including Tuesday Weld, Jane Fonda, Natalie Wood, Sharon Tate, Leslie Caron, and Ann-Margret. (Back when he was only producing it and not starring in it, Beatty had also considered his sister, Shirley MacLaine, for the role.) Beatty said they were turned down “by about 10 women,” though he would later say Weld was the only one they made a firm offer to. When Beatty met Dunaway, he didn’t think she was right for the part, but he told her to meet with Penn, who he thought would think she was perfect. Beatty was right.

7. THE STUDIO’S LACK OF FAITH MADE WARREN BEATTY VERY, VERY RICH.
Thinking the film wouldn’t make any money, Warner Bros. offered Beatty a ridiculous deal: a $200,000 salary, plus 40 percent of the gross. Yes, 40 percent. Of the gross, not the net. The film made more than $50 million.

5. WHATEVER YOU THINK THE FILM “REALLY” MEANS, YOU’RE PROBABLY WRONG.
Some viewers interpreted Bonnie and Clyde as a commentary on other issues, but Newman and Benton said they didn’t intend it that way. As they wrote in an introduction to a published version of their screenplay, “[People] have told us that Bonnie and Clyde was REALLY about Vietnam, REALLY about police brutality, REALLY about Lee Harvey Oswald, REALLY about Watts. After a while, we took to shrugging and saying, ‘If you think so.'”

16 Super Facts About “Superman – The Movie”

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Mathew Jackson and Mental_Floss present 16 Super Facts About Superman.  Here are three of my favorites…

6. EVERY MAJOR STAR OF THE DAY WAS SEEMINGLY CONSIDERED FOR THE TITLE ROLE.
In order to secure the rights to adapt the comic book, the Salkinds had to bow to certain demands from DC Comics, and the publisher ultimately sent along a list of “approved” actors who were allowed to play Superman. The list was far-reaching, and basically included every major star of the time. Among the names on the list: Dustin Hoffman, Al Pacino, Steve McQueen, Robert Redford, Paul Newman, and Muhammad Ali.

7. RICHARD DONNER WANTED TO CAST AN UNKNOWN AS SUPERMAN.
The Salkinds, hoping to land a major movie star in the title role, offered Superman to Paul Newman and Robert Redford, who both turned it down. The Salkinds also booked a meeting between Donner and Sylvester Stallone, who was hot at the time because of Rocky.

“I tried to be nice and say, ‘This is wrong,’” Donner said.

Believing that a movie star in Superman’s costume wouldn’t be believable, because audiences would only see the movie star and not the character, Donner lobbied hard for an unknown. He eventually found his man in Christopher Reeve, who impressed the director with his theater work.

9. MARGOT KIDDER’S CLUMSINESS WON HER THE LOIS LANE ROLE.
For the role of Lois Lane, several actresses—including Lesley Ann Warren and Anne Archer—were considered, but Margot Kidder ultimately won the role by simply being herself.

“When I met her in the casting office, she tripped coming in and I just fell in love with her,”Donner said. “It was perfect, this clumsy [behavior]. She was one of the few [actresses] we flew to London to test with Chris. Anne Archer [also tested]. But they were magic together.”

To compound Kidder’s clumsy, silly side even further, an eye injury meant that she had to act without contact lenses one day. Donner was so charmed by the way it made Lois bump into things and widen her eyes that he made sure Kidder continued to play the role without her contacts.

“There was a law after that: every morning people had to come to me and make sure she didn’t have her contacts in, and that she would act without her contacts. It just made her wonderful.”

16 Fascinating Facts About Marlon Brando

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Roger Cormier and Mental_Floss present 16 Fascinating Facts About Marlon Brando.  Here are three of my favorites…

5. HE BROKE HIS NOSE DURING A PERFORMANCE OF STREETCAR WHEN HE WAS BOXING WITH SOMEONE BACKSTAGE.
To alleviate the boredom of playing Kowalski on stage for, at that time, over one year, Brando started to fight with one of the stagehands, who was an amateur boxer. The stagehand took it easy on Brando until the actor insisted he fight for real. The stagehand then popped him in the nose, and blackened his eyes. Having just been punched in the face, and with his nose bleeding, Brando stepped back on to the stage. His co-star, Jessica Tandy, hid her surprise at his appearance by ad-libbing the line “You bloody fool” and playing it off as if Stanley had just been in a street fight.

After the performance, Brando walked to the nearest hospital to get himself fixed up. Irene Selznick, the show’s producer, told Brando to get his nose reset. She was glad he did not to listen to her. “I honestly think that broken nose made his fortune,” she said. “It gave him sex appeal. He was too beautiful before.”

 

7. BRANDO INITIALLY TURNED DOWN ON THE WATERFRONT, AND DIDN’T CARE FOR HIS PERFORMANCE IN IT.
After Brando returned the unread script—twice—Frank Sinatra was cast as Terry Malloy. While costumes were being fitted for the crooner to star, Brando changed his mind after producer Sam Spiegel convinced the actor to put his politics aside and re-team with his A Streetcar Named Desire director Elia Kazan, who had testified as a witness before the House Committee on Un-American Activities in 1952.

When Brando first saw the movie, he was “so depressed” by his performance that he left the screening room without saying a word. Brando won his first (of two) Best Actor Oscars for the role.

 

9. BRANDO AND SINATRA FEUDED DURING GUYS AND DOLLS.
Still upset over having the role of Terry Malloy taken away from him, Sinatra held a grudge, and repeatedly referred to Brando as “Mumbles.” Sinatra also declared that he didn’t go for Brando and “that Method crap.”

The two ended up starring in Guys and Dolls (1955) together, with Sinatra as Nathan Detroit and Brando as Sky Masterson. To get back at Sinatra for his adamant dislike of rehearsing, Brando purposely screwed up at the end of scenes to necessitate a retake. In one scene, Brando reportedly messed up nine times in a row because Sinatra had to eat a piece of cheesecake every time. After the ninth mistake, Sinatra threw his plate to the ground, jammed his fork on the table, and screamed at the director, “These ****** New York actors! How much cheesecake do you think I can eat?”