I’m still anxiously awaiting the day I get to see Kick-Ass, and be as cool as our SXSW team that caught its Austin premiere. (Be sure to check out Shannon Hood’s review.)   But at least I could content myself with Mark Millar’s Kick-Ass: Creating the Comic, Making the Movie which the gang at Titan Books was kind enough to let me review.

Anyone who viewed the trailer knows that Kick-Ass is going to be a unique movie. One look at Chloe Moretz’s Hit Girl can tell you that much. But I hadn’t realized just how unusual its page-to-screen transition was. Millar was still in the process of sketching the book out when he approached Matthew Vaughn (licking his wounds after leaving Thor) about directing.

The movie took shape as the comic did, with Millar running back and forth between the production offices and his own keyboard, incorporating ideas from Vaughn and screenwriter Jane Goldman as he went. Characters who were meant to be minor players such as Red Mist took on a life of their own after they were cast, and ended up becoming major players in Kick-Ass’ story arc. If there’s a sequel to Kick-Ass, it may be entirely due to Christopher Mintz-Plasse single-handedly rewriting his character.

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As I was watching the new Eclipse trailer, out of sheer boredom and a hint of curiosity, I found myself wondering why in the world two super-powered boys would fight it out over a girl clad in American Apparel who’s a hell of a downer.

How is there an entire film series devoted to one girl’s delusional obsessions of a fairy tale ending with a born-again killer? Sparkely vampires want to kill you, strapping werewolf shape-shifters want to keep you safe.

Do these Edward fans have a death wish and a yearning for abandonment? Is Bella Swan so heavily marketed as mesmerizing that it erases the history of the brazen blonde that came before her?

A long time ago, otherwise known as the 90’s, there was a series called Buffy the Vampire Slayer where a feisty girl from the southland slayed Urban Outfitted demons. This legendary show paved the way for multi-tasking girls who cheer by day, slay by night, and every once in a while hook-up with a tormented blood sucker.

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Welcome to the second part of my look at the duplicity that is the Hollywood we know and love (or love to hate in some cases).   Yesterday I delved into the mainstream films, such as Transformers, which get little to no recognition by the Academy.  These are movies that represent the very monetary foundation of which Hollywood is built.

Today I’m going to slide the other way and talk about the performance side of Hollywood.  Films with limited budgets, little to no marketing and have to fight tooth-and-nail in some instances for distribution as well as theater screens.  They are the darlings of Hollywood, praised for often dramatic portrayal of characters and deeply emotional stories.  Yet, even with all the attention they receive when nominated for an Oscar, only a select group of viewers end up seeing these films.

In contrast to their mainstream counterparts, performance films have always been the underdog.  It starts from the very point the script is completed all the way to getting onto the screen.  It’s the latter which ultimately proves the most critical because without theaters to show it, what good is a movie?

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It was an interesting show for the Oscars this year.  From the “Kanye” moment to Sean Penn somewhat proudly proclaiming he’s not part of the Academy.  Sandra Bullock won an Oscar for Best Actress in a Leading Role (The Blind Side) the very same year she accepted a Razzie for Worst Actress (All About Steve).  And, of course, the gross upset of Avatar at the hands of The Hurt Locker.  With 41 million viewers, this year’s Oscars had something for everyone but, perhaps more interestingly, it best reflected the two sides of Hollywood which exist today.

How fitting to have two hosts on the one Oscar night that would truly exemplify both faces of Hollywood.  For so long many have seen Hollywood as one massive, filmmaking entity but that really isn’t the case.  Now more than ever there’s a division between what I’m calling (for the purposes of this article) “mainstream” Hollywood and “performance” Hollywood.  The names pretty much say it all.

Films in the mainstream category are all the summer blockbusters, tent pole movies studios rely on to turn a healthy profit year over year (e.g. Iron Man, The Dark Knight, Avatar).  In contrast you have the performance pictures, lesser known films with limited release and all too often far less money behind them (e.g. Slumdog Millionaire, No Country for Old Men, The Hurt Locker).  These are two very different types of films, each vying for the attention of movie goers.

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Any real fans of the Simon Pegg/Nick Frost/Edgar Wright trio know that they all didn’t meet on the set of Shaun of the Dead. In fact, the reason they got the chance to do Shaun was due to the success of a 1999 BBC TV series they all created called Spaced.

The show, starring Pegg, Frost, and Jessica Hynes, was about a comic book artist who has to fake a marriage with a complete stranger in order to stay in an apartment made for “professional couples.” The show was quirky and funny, and developed a huge cult following on DVD. It also seemed to turn the heads of a few US producers, including McG and now producer of Chuck and Human Target, Peter Johnson.

The U.S. version of the show was a failure, to say the least, and never made it past the pilot stage. None of the original creative team were involved, or even brought into the loop that the show existed, until recently. Simon Pegg twittered a clip from the failed pilot, starring Sara Rue (Less Than Perfect), Josh Lawson, and Will Sasso (MadTV).

Take a look at the clip after the jump, and you’ll understand why the show never made it past the unaired pilot. The only thing worth mentioning is that Will Sasso truly is the US version of Nick Frost. Outside of that, there isn’t much going for this half-assed clone of a show.

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If you haven’t heard by now Clerks and Cop Out director Kevin Smith was asked to leave a Southwest Airlines flight last weekend.  The reason, he was deemed a “safety risk”, or in Smith’s words, “too fat to fly.” That’s right, Southwest Airlines tossed “Silent Bob” off a flight. What has the world come to?

Smith has come out and said he wasn’t drinking, acting out-of-the-ordinary, or too fat to fit in the seat:

“Dear @SouthwestAir, I flew out in one seat, but right after issuing me a standby ticket, Oakland Southwest attendant Suzanne (wouldn’t give last name) told me Captain Leysath deemed me a “safety risk”. Again: I’m way fat… But I’m not THERE just yet. But if I am, why wait til my bag is up, and I’m seated WITH ARM RESTS DOWN. In front of a packed plane with a bunch of folks who’d already I.d.ed me as ‘Silent Bob.’”

Armrests securely down, he was all prepared to leave (with his bag stowed no less) when the Captain asked that he be removed. Granted, anything could have happened on that flight, but the fact Southwest Airlines tried to issue him a $100 voucher in response (which he refused) doesn’t help their case.

All that said, a number of people have come to Smith’s defense, including Marvel’s own Stan Lee.  Speaking via Twitter, Lee made a few remarks in support of Smith’s case:

@smilinstanlee: The only way Kevin could look really fat would be if he packed his pockets with cards bearing the names of each of his 1,600,000 followers!

@smilinstanlee: Maybe us thin guys who don’t take up the whole seat on a plane should ask for a discount! It ought’a work both ways!

While humorous, Lee’s remarks note one very important thing; Smith has over a million followers on Twitter.  Sure, there could be a lot of spam accounts in there but let’s assume even half (I’m sure there are more than that) are real people.  500,000 or so individuals following, listening and generally waiting for Smith to say something.

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Now that I’ve had a chance to think about it and perhaps Steve Jobs’ “reality distortion field” has worn off a bit, there are some things about the iPad I don’t like or wish had been, or hadn’t been, included in the new device. On the surface, the iPad seems like a great device and one that I will most likely get. But today’s announcement still left me wondering about a few things.

And here they are:

No camera – For a device like this it would make sense to have a video camera for video conferencing and to take pictures and video, much like the iPhone 3GS. If this device is supposed to be some sort of laptop replacement, it should have a camera. The deliberate omission of a camera smells like an obvious ploy by Apple to not cannibalize sales of the iPhone and iPod.

No Flash – Say what you will about Adobe’s Flash but for the full Internet browsing experience you still need to have Flash. Sure, the iPhone doesn’t have it but if this is supposed to be a larger, better device that can replace my 13″ MacBook, it should have Flash.

Navigating to web pages and seeing those black rectangles where video should be isn’t the fantastic experience Apple makes it out to be. It’s just bad and seriously undermines the credibility of Apple’s mobile web browser.

Storage – I realize that Apple probably isn’t positioning the iPad as a complete laptop replacement but it would still be nice to have more storage than the maximum of 64GB. Of course, having more storage would probably mean that battery life would suffer or the device would be more expensive but still, video files are usually pretty large and I’ve also got a lot of music and other files, plus applications and games, so larger storage options would be great.

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Avatar is getting a lot of fanfare at the moment. As it passes the $700 Million mark, people can’t help but wonder if it will go on to beat The Dark Knight’s billion dollar box office take. However, as huge as Avatar is, I still maintain there was a much better film about aliens this year, District 9 (which, incidentally made it onto Chris’ Best Films of 2009 list).

With only an estimated $30 Million budget, District 9 made over $200 million worldwide.  Sure, that doesn’t hold a candle to Avatar’s current numbers, but keep in mind James Cameron’s epic cost well over $250 Million. Probably more when you factor in marketing expenses. Given that, District 9 could be considered just as successful.

One might think that with such success District 9 director Neill Blomkamp would be eager to take on a film the likes of  Avatar. His stance is quite the opposite, however.  Speaking with the L.A. Times, Blomkamp expressed little to no interest in high budget filmmaking, citing reluctance to bend to studio demands:

“That’s exactly right and that’s precisely the reason I don’t want to do high-budget films. I’ve said no already to doing the Hollywood movie thing with big budgets. And that is the exact reason.”

The “exact reason” Blomkamp is speaking of is the recent trend of studios emulating other films instead embracing original content:

“We seem to be in a place now where filmmakers make films based on other films because that’s where the stimuli and influence comes from…And that’s my goal, really, is not to draw from other films in terms of the overall inspiration and stimuli. You can in terms of design and tone and stuff, certainly, but not in terms of the idea and the genesis of that idea.”

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Box Office Mojo has reported that Avatar added another $16 million to it’s box office on Monday. Considering the soft opening that the movie had over the weekend ($77 Million), due to sold out shows and a snow storm that hit most of the east coast, this might just be the beginning of some staying power for James Cameron’s latest project. Titanic, the previous Cameron film released 12 years ago, managed to stay in theaters for almost 11 months, which helped to make it one of the top box office earners in history.

Compared with one of this year’s other financial heavy-hitters, Transformers: Revenge of the Fallen, which opened to around $102 Million in June but only made $14 Million on the Monday following it’s opening weekend. They’re slightly comparable in that both were released during a time when families and younger fans have more free-time, with Independence Day being the following weekend for Transformers 2, and Christmas coming this weekend, which is Avatar’s second weekend .

It’ll be interesting to see how well Avatar is able to hold on, between the varied opinions on the film, the positive word of mouth, and the opening of another potential box office smash with Robert Downey Jr. and Guy Ritchie’s Sherlock Holmes. Whether or not Avatar proves itself to be the next financial Titanic or not, it’s sure to be an epic clash at the box office this weekend.

There’s no arguing that the proliferation of file sharing technology (e.g. BitTorrent or similar) has changed the industry for content creators. Never before has it been easier to acquire free movies or music. Or has it?

For the last several years we, the consumers, have had to endure the complaints (dare I say whining) of movie studios and the recording industry. Both industries cite digital piracy as the root cause of their financial loss. Funny how this argument rarely (if ever) surfaced during the days of analog.

Piracy of content has been going on for decades, long before the Internet was around. With the advent of the VCR and Cassette Recorder (which I guess would technically be an ACR) people have been able to duplicate content with relative ease. I remember when stereos started to come out with not one but two cassette bays for this purpose alone. Drop in a master tape, then a blank tape and copy away.

The same was true for movies. I had friends who subscribed to their movie channel of choice, and then regularly recorded movies from the television to tape for later viewing. All one had to do was hook up two VCRs and you could easily duplicate those tapes for friends. All those years of consumers pirating content and hardly a word from media moguls about lost revenue.

Fast forward to today. It seems not a week goes by without someone in the world of entertainment getting on a soapbox and crying fowl over the horrors of piracy. On the box this week: Rhett Reese, co-writer of Zombieland.

Reese started somewhat of a firestorm after commenting on the fact Zombieland is currently the most popular download on BitTorrent, “Beyond depressing. This greatly affects the likelihood of a Zombieland 2.”

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