Richard Roeper Blog

To answer upfront: No, I haven’t seen “Watchmen.” I’m seeing it early next week, and I’ll post a review shortly thereafter.

Two or three times a year, there’s an “event movie” that has fans buzzing with mad anticipation, bouncing up and down like Duke fans at a basketball game. It could be the new Pixar film, or the filmed version of a wildly popular book (“Twilight”), or an adaptation of a hit show like “Sex in the City,” or the latest film from a director who often goes years between projects, e.g., Quentin Tarantino.

Most often, though, it’s a Fanboy Flick such as the first “X-Men” movie or “Iron Man” or of course “The Dark Knight.” The Fanboys–Fangirls, Fan Men, Fan Lesbians, Fan Soccer Moms, whatever–they love their comic books and graphic novels and sci-fi classics and updates. I have a good degree of interest in the J.J. Abrams version of “Star Trek,” coming to theaters in May, but it pales in comparison to the passion felt by many Trekkies, I mean, Trekkers. (As if the latter name is less dorky.) These are the fans who would literally sleep overnight on the sidewalk in order to be the first to see a movie. As is the case with the Sundancers who often camp out for hours in the hopes of getting a single standby ticket, I am, in the immortal words of Keanu Reeves in “Hardball,” blown away by their ability to show up.

Over the last few months, more people have asked me about “Watchmen” than just about every other movie put together.

Have I seen “Watchmen”? Have I heard the latest about the legal disputes? What do I think about Alan Moore’s comments about the attempt to turn “Watchmen” into a movie?

Here’s the thing. Occasionally I’ll see a film several months in advance, but I usually screen movies a couple of weeks or just a few days before they open. (Sometimes the studios have NO advance screenings, and I’ve yet to see an example of that happening because they had such confidence in a film.) Nearly every critic I know would prefer to see a film during the day in a private screening room as opposed to an evening screening in a commercial theater with an audience that has won tickets through a radio promotion. It’s not an elitist thing. (Well, maybe it’s partially an elitist thing.) It’s a matter of professional convenience. A writer facing multiple deadlines is not well served when she has to see a film at 8 p.m. on Tuesday night. And believe it or not, some film critics actually have lives, families, children, other obligations. If you’re at the movies every night, you’re missing out on life.

There’s also the matter of the viewing experience. Sure, it’s fun to see a horror film or a quality comedy with an audience that’s really into it—-but it’s not so much fun to see a crime thriller set in New York and have the guy behind you, a former New Yorker, shout out the name of every locale he recognized, including friggin’ Statue of Liberty. (I’m not kidding, that really happened at a screening of “Righteous Kill.” After I asked the guy twice to keep it down, he finally shut the f— up when his girlfriend said, “That’s Richard Roeper.” Critic and Superhero!! Ha.) In a professional screening room, the quality of the sound and the picture is invariably much superior to the presentation at the local multiplex. You’re seeing the movie the way the director intended you to see it.

I’ll be seeing “Watchmen” in a public theater, with a ton of press and probably some “civilians” as well. That’s fine. It’s one of the better theaters in Chicago, and I’m sure the print will be pristine and the sound will be strong. Going into the movie, I will have avoided reading any and all early reviews. I’m aware of much of the legal wrangling surrounding the film, and I’m aware of Moore’s belief that “Watchmen” is inherently UN-cinematic—but in the immortal words of Tommy Lee Jones in “The Fugitive,” I don’t care. I mean, all that other shit is interesting, but I’ll judge the movie as a movie.

And yes, I’ve actually read “Watchmen,” and I think it’s a memorable work of art. Here’s hoping the film does it justice.

Check out my take on “Two Lovers,” in the Reviews section.

My take on “Crossing Over” in the Reviews section.

He was one of the most passionate athletes ever to storm onto the court.

Norm Van Lier, 61.

Someone just sent me an email quoting a movie web site operator who claims there are no good movies in January and February. None.

Really?

True, the studios often dump junk into theaters in the first two months of the year. Cheap horror films, dopey comedies, the occasional big-star vehicle that’s been sitting around for a long time because it tested poorly. Meanwhile, a lot of moviegoers are still catching up with the Oscar contenders that were given limited releases in late December in order to qualify for awards.

If you haven’t seen one 2009 release, have you missed anything at all?

The biggest hit of the year so far is “Paul Blart: Mall Cop,” which has grossed a startling $120 million and counting. That means more people in this country have seen a decent but thoroughly disposable Kevin James comedy than have experienced “Slumdog Millionaire.” If you never see “Paul Blart,” or other 2009 hits and semi-hits such as “Taken,” “He’s Just Not That Into You,” “Hotel for Dogs,” “Bride Wars,” “Confessions of a Shopaholic” and “Friday the 13th,” you’ll be just fine. And by skipping the likes of “New in Town” and “The Pink Panther 2,” you’re ahead of the game.

But I have seen a few strong films this year. “The International” has a Rubik’s Cube of a plot and one of the more underwhelming endings of any thriller in recent memory, but it also has a jaw-dropping shootout sequence at the Guggenheim (filmed mostly on a set in Germany) that’s almost as good as the bank robbery sequence in Michael Mann’s Heat. “Coraline” is a creepy delight. It could earn a Best Animated Film nomination. Joaquin Phoenix and Gwyneth Paltrow are deeply effective in “Two Lovers,” an offbeat character study from James Gray. As much as we joke and squirm about Phoenix’s weird-beard act, it would be a real loss to the film world if he retired from acting.

I’ve also seen a couple of terrific films that are coming out in early March. So the screening room experience hasn’t been all negative in the first two months of the year.

No good movies in January and February? That’s a reach. But as is the case nearly every year, when we start talking about acting awards and Best Picture contenders, few if any critics will reach back to the winter releases.

1. It’s a robe you put on backwards.
2. A robe that picks up a lot of static electricity and lint.
3. Is it really so hard to answer the phone when you’re wrapped in a blanket?
4. If you spill something on your Snuggie, will the ShamWow clean it up?
5. In case you were wondering, snuggies are manufactured in China.
6. About 4 million Snuggies have been sold in the last six months.
7. As you read this, some Chinese worker who is working on in Snuggie plant is thinking, “Americans are idiots.”
8. Jay Leno says the original name for the Snuggie was “Lard-ass quilt.”
9. There are more than 250 Facebook groups devoted to the cult of the Snuggie, proving once again that if everyone on Facebook got off Facebook and went back to work, the economy would be saved.
10. If you want to guarantee you won’t get laid tonight, walk into the bedroom wearing a Snuggie.

Should the Sears Tower go silver?

As long as they don’t start talking about the Hancock Building going fuchsia, I’m open to suggestions.

Did you win your Oscar pool? Did you mirror my picks? If you did, you probably did.

It was pretty cool to see five Oscar winners onstage for each of the acting categories, but it also illustrated the inherent problem with Hollywood’s biggest night: it’s also a self-congratulatory orgy of ego and narcissism. The one element they always forget on Oscar night is the FANS. There’s got to be some way to incorporate the moviegoing experience into a three-and-a-half hour show about the movies.

The biggest surprise might have been that there were no surprises. I’m sure I’m not the only one that nailed all the major categories, from Best Picture to all the acting and writing categories to Best Director. Overall, I went 21 for 24. I didn’t think “Departures” had a chance to win Best Foreign Film. (I figured it was between “Waltz with Bashir” and “The Class.”) And I should have switched the Sound categories. (As if I could really tell you all the nuances that separate Sound Mixing from Sound Editing anyway.)

Here’s what I wrote late last week about the Oscars: “Mark my words, or mock my words. ‘Slumdog Millionaire’ will take home eight Oscars, ‘Benjamin Button’ will win a handful of technical awards, Heath Ledger is the biggest lock of the night and Kate Winslet will win for the wrong role in the wrong movie.”

And that’s how the script played out, right down to the eight trophies for “Slumdog.” (See? I can be just as self-pleased as any Hollywood star. Besides, next year I’ll probably go 10 for 24, and you’ll all be ripping on me.) Now millions more will watch Danny Boyle’s kinetic triumph. Many will be inspired. Some will be shocked by the level of violence and the scenes of cruelty towards children. More than a few will cry, “OVERRATED.” I’m just glad more cinema fans will be able to enter the debate about the film.

It truly was an international night. Last year, all four acting winners were foreign-born. This year, Sean Penn was the only American-born winner. The others were Australia’s Heath Ledger, England’s Kate Winslet and Spain’s Penelope Cruz, who looked beautiful and gave a touching speech, but I still say she sounds like a cartoon character when she speaks English.

Who knows if Mickey Rourke’s offscreen antics cost him the Best Actor trophy. More likely, Academy voters felt Sean Penn’s performance in “Milk” was more likely to resonate through the ages. Both actors played charming, doomed characters, but Harvey Milk was a real-life crusader, whereas the wrestler Randy “The Ram” Robinson was a fictional creation. We felt empathy for Rourke’s character, despite his self-destructive and self-loathing ways—but we felt inspired by Penn’s Harvey Milk. The roles themselves might have given Penn the edge.

I love Kate Winslet but I didn’t love “The Reader.” She was fine in a supporting role, but she was unforgettable in her much larger role in “Revolutionary Road.” Heath Ledger’s performance was Oscar-worthy. The tragedy of his death was reflected in the faces of all those talented actors who worked with him or knew him or simply appreciated his gifts. Penelope Cruz had a showcase role in “Vicky Cristina Barcelona” and she hit it out of the park. Like Dianne Weist and Mira Sorvino, she is also the beneficiary of a Woody Allen screenplay.

“Slumdog Millionaire” was the best movie of 2008 and one of the best 100 films I’ve ever seen. I’m thrilled for the film, the cast and of course for Best Director winner Danny Boyle.

As for the show: Hugh Jackman did a fine job in a couple of lavish and slightly wacky production numbers, and then he seemed to disappear in the second half, as is usually the case with hosts. I can’t imagine that he’d ever want to take on the job again. The ratings won’t be great, but the Oscars will still bring in more viewers than the Grammys and the Emmys combined. Until/unless they cut the ceremony to two hours and eliminate the broadcast of the “minor” categories, the numbers will continue to go down. When the viewers at home have never heard of the winner onstage, have never seen his film and have never heard of any of the people he’s thanking—that’s not timeless TV.

Now it’s on to the movies. I’ve got three screenings today. And pretty soon you’ll hear some critic say, “It’s the first Oscar-worthy performance of 2009!”

Cinemascope says they have the rundown for tonight’s show. We’ll soon see if this is reliable. According to their sources, here’s how it will go down:

5:38 (PST): Hugh’s opening performance

5:45:AWARD #1
ACTRESS IN A SUPPORTING ROLE

5:51: AWARD #2:
ORIGINAL SCREENPLAY

5:55: AWARD #3
ADAPTED SCREENPLAY

6:03: AWARD #4
ANIMATED FEATURE FILM

6:05: AWARD #5
ANIMATED SHORT FILM

6:14: AWARD #6
ART DIRECTION

6:18: AWARD #7
COSTUME DESIGN

6:20: AWARD #8
MAKEUP

6:30: AWARD #9
CINEMATOGRAPHY

6:36: SCI-TECH AWARDS RECAP

6:41: AWARD #10
LIVE ACTION SHORT FILM

7:03: AWARD #11
ACTOR IN A SUPPORTING ROLE

7:08: AWARD #12
DOCUMENTARY FEATURE

7:10: AWARD #13
DOCUMENTARY SHORT SUBJECT

7:20: AWARD #14
VISUAL EFFECTS

7:22: AWARD #15
SOUND EDITING

7:26: AWARD #16
SOUND MIXING

7:29: AWARD #17
FILM EDITING

7:37: JEAN HERSHOLT AWARD
TO JERRY LEWIS

7:48: AWARD #18
ORIGINAL SCORE

7:55: AWARD #19
ORIGINAL SONG

8:01: AWARD #20
FOREIGN LANGUAGE FILM

8:10 In Memoriam

8:14: AWARD #21
DIRECTING

8:23: AWARD #22
ACTRESS IN A LEADING ROLE

8:31: AWARD #23
ACTOR IN A LEADING ROLE

8:38: AWARD #24
BEST MOTION PICTURE