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Alien Resurrection (1997)
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"I have always tried to maintain low expectations for Hollywood product in general. But when it comes to highly anticipated movies, particularly blockbuster sequels to popular sci-fi action franchises, my excitement can get the best of me. Whenever I need to calm down my expectations, though, I simply recall all the disappointments of 1997 (Alien Resurrection, The Lost World, the Star Wars Special Edition), and I can get through the hype pretty safely. Considering I’m one of the few who actually loved both Terminator 3: Rise of the Machines and (yes, even) McG’s Charlie’s Angels movies, it’s hard for me to believe that I’m also one of the few who isn’t now expecting Terminator Salvation to be the second coming of Christ
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"Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs "
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5 Worst Directorial Sellouts of ...
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"On Saturday, Karina and I were discussing the upcoming Judd Apatow-produced comedy Pineapple Express, which I think is a waste of David Gordon Green’s directorial talent. Even more, I think it’s a waste of his writing talent, as it’s his first film where he’s not (credited as) one of the screenwriters. But, as Karina argued, a guy has to earn a paycheck now and again, and if him making this stoner comedy means I get to see more beautiful little films from Green in the future, then I should be happy for him and thankful to Apatow and Columbia Pictures. After all, great actors do this sort of thing all the time, so why shouldn’t it be okay for directors? However, all too often a sellout film can leave a really bad taste in our mouths. Sometimes that one really commercial movie will harm a filmmaker’s career for a long time, whether because it’s a box office flop or because it ends up only being the first in a new, more-mainstream direction for the filmmaker (see John Woo, sort of). H ... "
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