Much like Tom Emanski, James Cameron is going back-to-back-to-back. While the HMFIC hasn't confirmed this himself, his Avatar star Sigourney Weaver now says three return trips to Pandora will all be shooting at the same time. Reports Showbiz411, "[Sigourney Weaver] goes right into a new Christopher Durang play for a short run at Lincoln Center. Then she films Avatar 2, 3, and 4 ... Weaver says she has no idea how long it will take, or how it’s going to work. 'I just show up,' she said." Looks like Cameron is done exploring the depths of space and sea, and is ready to get back to making tons and tons of cash. Hooray!
Contraband, the latest attempt by Mark Wahlberg to prove that he’s still the captain of the Junior Varsity Action Star Team, opens in theaters today. Though Wahlberg’s indisputably the star, toplining another virtuoso showcase of his ability to toggle between charming and enraged, what we’re really intrigued about is Giovanni Ribisi’s turn as the psychopath threatening Wahlberg’s family. There’s been a sleazebag element in just about every role Ribisi has played, whether he’s the lead or a supporting character, a hero or a villain. In Contraband he goes Full Sleazebag: slicked-back hair, scraggly beard to obscure his baby face, neck tattoo, a uniquely irritating voice. He’s like a Mini Me version of Nicolas Cage in Kiss of Death. To see how Ribisi got to this level, here’s a guide to some of his previous sleazebagtastical (yes, now an official word) turns.
This weekend human beings by the tens of thousands will crowd into air-conditioned multiplexes, popcorn and Jujyfruits in hand, to see the surprisingly well-reviewed, Oscar-baitingRise of the Planet of the Apes. There, in the artificially chilled, overpriced darkness, the enraptured masses will fall for the friendly, CGI face of Caesar, a revolutionary monkey, and thrill to his stirring, helicopter-destroying quest for freedom — or at least San Francisco. When the lights come up, some in the audience may be moved to applaud Caesar’s eventual triumph: the complete overthrow and subjugation of our own species. As Peter Debruge put it in his review for Variety, the film provides a “curious chance for humans to revel in their own destruction,” which strikes me as wildly perverse — a ludicrous example of voting-against-our-own-interests that makes Thomas Frank’s What’s the Matter With Kansas? seem as benign as The Wizard of Oz. Last I checked, the majority of moviegoers are human. Why are we suddenly so chuffed to cheer our own extinction?