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From TV Show to Movie

This is just not a subgenre I inherently trust. These films get made because of their familiarity…

The A-Team picture is opening this weekend. I hardly ever watched the TV show, so the only reason that I’d even consider seeing the film is that it features Liam Neeson in the George Peppard role. On the other hand, it was not made available to critics, which is usually a sign that it will suck, though the early Rotten Tomatoes score was 53, not great, but not awful. The “Consensus: For better and for worse, Joe Carnahan’s big-screen version of The A-Team captures the superficial, noisy spirit of the TV series.”

It got me to wondering: how have movies made from TV shows fared? I’m not thinking of movies such as the X-Files or Sex in the City, which are essentially continuations of the TV series, generally with the same actors. I was thinking more of the reimaginings, with new actors and directors. I limited the list to the 21st Century, because, my goodness, there are a LOT of them! BTW, I ignored animation to live action (George of the Jungle) or things that went back and forth from movies to TV to movies (Robin Hood) or anything I never heard of, but if you think I’ve missed something, by all means, let me know.

Bewitched (2005)
RT score-24
Production Budget: $85 million
Total Lifetime Grosses
Domestic: $63,313,159 48.2%
+ Foreign: $68,113,010 51.8%
= Worldwide: $131,426,169
The foreign box office salvaged this one. Will Ferrell starred in this; he had a cameo in Starsky & Hutch. Steve Carrell, star of Get Smart, has a cameo here.

Charlie’s Angels: Full Throttle (2003)
RT score-43
Production Budget: $120 million
Total Lifetime Grosses
Domestic: $100,830,111 38.9%
+ Foreign: $158,345,677 61.1%
= Worldwide: $259,175,788
the huge foreign b.o made this sequel successful. The initial 2000 film cost less, made more money and reviewed better (RT-67)

The Dukes of Hazzard (2005)
RT score-14
Production Budget: $50 million
Total Lifetime Grosses
Domestic: $80,270,227 72.3%
+ Foreign: $30,799,288 27.7%
= Worldwide: $111,069,515
Despite scathing reviews, made money. I have to think it was, in large part, because of Jessica Simpson as Daisy Duke.

Get Smart (2008)
RT score-52
Production Budget: $80 million
Total Lifetime Grosses
Domestic: $130,319,208 56.5%
+ Foreign: $100,366,245 43.5%
= Worldwide: $230,685,453
I should see this.

The Honeymooners (2005)
RT score-14
Production Budget: $25 million
Total Lifetime Grosses
Domestic: $12,843,849 97.4%
+ Foreign: $339,577 2.6%
= Worldwide: $13,183,426
On the title track of Quincy Jones’ eclectic 1989 album Back on the Block, there’s a couplet offered up by Big Daddy Kane:
We shoulda got our freedom much sooner
You never seen a blackman on The Honeymooners
I have no knowledge of this, but I have to wonder if that sentiment was the inspiration for this quite unsuccessful remake with a predominantly black cast.

I Spy (2002)
RT score-15
Production Budget: $70 million
Total Lifetime Grosses
Domestic: $33,561,137 66.2%
+ Foreign: $17,171,808 33.8%
= Worldwide: $50,732,945
This Eddie Murphy bomb also featured Owen Wilson, who would fare better a couple years later in Starky & Hutch.

Miami Vice (2006)
RT score-47
Production Budget: $135 million
Total Lifetime Grosses
Domestic: $63,450,470 38.7%
+ Foreign: $100,344,039 61.3%
= Worldwide: $163,794,509
Colin Ferrell was in this and the earlier, and equally middling cop-based film, S.W.A.T., though S.W.A.T. had the better domestic gross.

Mission: Impossible III (2006)
RT score 70 (1996-57,2000-57)
Production Budget: $150 million
Total Lifetime Grosses
Domestic: $134,029,801 33.7%
+ Foreign: $263,820,211 66.3%
= Worldwide: $397,850,012
Interesting that the third film rated better than the predecessors in 1996 and 2000 (both 57), but the original and the first sequel were more profitable. this begs the question about the potential success of the fourth film, scheduled for release in 2011.

Star Trek (2009)
RT score-94
Production Budget: $150 million
Total Lifetime Grosses
Domestic: $257,730,019 66.9%
+ Foreign: $127,764,536 33.1%
= Worldwide: $385,494,555
Don’t know if I should count this one, given all of its cinematic antecedents, but it seemed to meet the criteria. Definitely need to see this film.

Starsky & Hutch (2004)
RT score-63
Production Budget: $60 million
Total Lifetime Grosses
Domestic: $88,237,754 51.8%
+ Foreign: $82,030,996 48.2%
= Worldwide: $170,268,750
This Ben Stiller film did better than I recalled.

S.W.A.T. (2003)
RT score-48
Production Budget: $80 million
Total Lifetime Grosses
Domestic: $116,934,650 56.3%
+ Foreign: $90,790,989 43.7%
= Worldwide: $207,725,639

So this is just not a subgenre I inherently trust. These films get made because of their familiarity, but often, the film is schlock, the box office is disappointing, or both. This is not to say that these movies are always a bust – http://www.imdb.com/title/tt0106977/ The Fugitive (1994) was a big hit commercially and critically, though the TV show based on the movie, which had been based on the TV show, was not.

I’m also wary of TV-to-TV remakes. I have oddly fond memories of Hawaii 5-0, and the remake this fall doesn’t excite me, not because it will necessarily be bad, but because it won’t be what I want from that brand. Still, I’ll check out the new version – maybe.

The Apollo Party I’m Missing

The evening will begin at 6:30 p.m. with a star-studded red carpet, followed by the Benefit concert and awards ceremony at 7:00 p.m. and culminating with a grand tented after-party, the Apollo Supper Club.

I’ve never been to the legendary Apollo Theater in New York City, although it’s only about 160 miles from where I live. “Legendary” gets thrown around too often, but the Harlem venue with a somewhat muddled history prior to 1934, when it became “Where Stars are Born and Legends are Made” from Ella Fitzgerald to Stevie Wonder, James Brown and Lauryn Hill.

So somehow I get this printed invitation in the mail to go to this event honoring The Queen of Soul, and the late King of Pop. Seems like a once-in-a-lifetime thing. And I haven’t been to Manhattan in quite a while.

Wait: what’s that? $1000 a head! Guess I WON’T be going after all. But what would I have gotten for my money?

Marc Anthony and JLo getting some award named for the great acting couple? Chase bank getting an award? Jamie Foxx hosting? Meh.

The invitation was a great piece of information for me.

The Chairman of the Board for the Apollo is Richard Parsons, former head of Time Warner, since mid-2009 head of Citigroup.
The board includes familiar names such as music producer Quincy Jones and historian Henry Louis Gates, Jr., the latter probably better known by most of America for getting arrested at his own home last year. Then there’s business tycoon Ron Perelman, honorary co-chair with Quincy of the benefit committee, who seems to court controversy wherever he goes; I know him best as the guy who almost destroyed Marvel Comics.

Some acting couples on the benefit committee, such as Angela Bassett & Courtney B. Vance and Kyra Sedgwick & Kevin Bacon; Baconologists, please note. Also, Bill Cosby and his wife Camille; director Spike Lee, and his wife Tonya Lewis; Denzel Washington, and his wife Pauletta; Marcia Gay Harden; and a musician who’s played at the Apollo, Smokey Robinson.

But what if I had MORE money to spend? What would be my options?

$15,000 Tier

2010 Spring Event Benefits

4 tickets to the 2010 Spring Benefit
Recognition on the Apollo marquee during June
Recognition on the Concert Program
Year-round Benefits

10 tickets to Apollo Amateur Night
Recognition in Apollo institutional media
10% group discount for the curator-led Apollo historic tour
10% discount on Apollo merchandise for employees

$25,000 Tier

2010 Spring Event Benefits

8 premium tickets to the 2010 Spring Benefit
Recognition on the Apollo marquee throughout June
Recognition during the Concert and in the Supper Club
Recognition on the Concert Program
Recognition on lobby and outdoor plasma screens
Year-round Benefits

Use of the Apollo Theater free-of-charge (production fees apply)
10 tickets to host one company night at the Apollo
20 tickets to Apollo Amateur Night
Custom marketing opportunities with the Apollo audience
Recognition in Apollo institutional media
Use of the Apollo brand in corporate literature
10% group discount for the curator-led Apollo historic tour
10% discount on Apollo merchandise for employees

$50,000 Tier

Annual Spring Benefits

12 premium tickets to the 2010 Spring Benefit
Preferred recognition on the Apollo marquee throughout June
Preferred recognition on the Red Carpet and during the event
Company logo on the Spring Benefit Invitation and Concert Program
Preferred recognition on lobby and outdoor plasma screens
Year-round Benefits

Use of the Apollo Theater free-of-charge (production fees apply)
20 tickets to host two company nights at the Apollo
20 tickets to Apollo Amateur Night
Recognition in Apollo institutional media
Custom marketing opportunities with the Apollo audience
Use of the Apollo brand in corporate literature
10% group discount for the curator-led Apollo historic tour
10% discount on Apollo merchandise for employees

$75,000 Tier – Diamond Salute Partner

2010 Spring Event Benefits

16 premium tickets to the 2010 Spring Benefit
Preferred recognition on the Apollo marquee during June
Preferred recognition on the Red Carpet and at the event
Company logo on the Spring Benefit Invitation and Concert Program
Preferred recognition on lobby and outdoor plasma screens
Diamond Salute Partner Benefits

Opportunity for senior executive to join the Apollo National Committee
Concierge purchasing service for 2010 Spring Benefit Events
Use of the Apollo Theater free-of-charge (production fees apply)
20 tickets to host two company nights at the Apollo
20 tickets to Apollo Amateur Night
Recognition in Apollo institutional media
Custom marketing opportunities with the Apollo audience
Use of the Apollo Theater brand in corporate literature
10% group discount for the curator-led Apollo historic tour
10% discount on Apollo merchandise for employees

$100,000 Tier

2010 Spring Event Benefits

20 premium tickets to the 2010 Spring Benefit
Industry-exclusive title sponsorship
Prime recognition on the Apollo marquee throughout June
Prime recognition on the Red Carpet and during the event
Branding opportunities during the Concert and Supper Club
Company logo on the Spring Benefit Invitation and Concert Program
Dedicated content on lobby and outdoor plasma screens
Year-round Benefits

Use of the Apollo Theater free-of-charge (production fees apply)
40 tickets to host four company nights at the Apollo
30 tickets to Apollo Amateur Night
Complimentary curator-led Apollo historic tour
Custom marketing opportunities with the Apollo audience
Recognition in Apollo institutional media
Use of the Apollo brand in corporate literature
10% discount on Apollo merchandise for employees

$150,000 Tier

2010 Spring Event Benefits

28 premium tickets to the 2010 Spring Benefit
Industry-exclusive title sponsorship
Prime recognition on the Apollo marquee throughout June
Prime recognition on the Red Carpet and during the event
Branding opportunities during the Concert and Supper Club
Company logo on the Spring Benefit Invitation and Concert Program
Dedicated content on lobby and outdoor plasma screens
Year-round Benefits

APOLLO THEATER TO REMEMBER A KING AND CELEBRATE A QUEEN
2010 Annual Spring Benefit Concert and Awards Ceremony
Monday, June 14, 2010

Hosted by comedian, multi-platinum recording artist and Oscar-award winning actor Jamie Foxx, this year’s Concert & Awards Ceremony will feature the induction of two royal new honorees into the Apollo Legends Hall of Fame: the undisputed King of Pop Michael Jackson, and the one and only Queen of Soul Aretha Franklin.

The awards ceremony will continue with the Ruby Dee & Ossie Davis Arts and Humanitarian Award presented to superstar couple Jennifer Lopez and Marc Anthony. The Theater’s annual corporate award will be presented to JP Morgan Chase for its ongoing commitment to the Apollo and the Harlem community.

For more details, please click here to view the press release for the Apollo’s 2010 Gala.

To purchase tickets, please click here or call Nicole Judd at 212.531.5330.

30-Day Challenge: Day 7-Favorite TV Show

History is respected by noting in the almanac some interesting event that happened on that date. It notes the passing of significant people and institutions.

Ah, a single favorite. Well, I mentioned five possibilities here.

Early favorites included Captain Kangaroo – there was a character named Mister Green Jeans! – and most Hanna-Barbera cartoons (Yogi Bear, Huckelberry hound, Top Cat).

Later, the Fugitive, and pretty much any Quinn Martin production. Also, any show with a lawyer: Perry Mason, of course, but also The Defenders, starring E.G. Marshall and a pre-Brady Bunch Robert Reed as father-and-son attorneys.

Sitcoms from Norman Lear (All in the Family, Maude), pretty much anything from MTM (Bob Newhart Show, St. Elsewhere). Barney Miller. Taxi.

JEOPARDY!, of course. 60 Minutes.

But when I think of one show I’ve watched for years and would miss it if it were gone: CBS Sunday Morning. It’s a magazine on the air, covers a wide variety of topics, both hard news and entertainment features. History is respected by noting in the almanac some interesting event that happened on that date. It notes the passing of significant people and institutions. Commentary comes from a variety of POV, some of which I even agree with. The show explains trends that I need to know as a librarian in an entertaining way.

It’s been on for over 30 years, initially hosted by the late Charles Kuralt and, since 1994, by Charles Osgood. When it first started, I used to watch it leisurely in real time, while reading the paper. Later, I would record it on the VCR, or now, the DVR, for watching, sometimes only a section or two at a time, but it is structured so that one can do that too.

Now, if you forced me to pick a scripted show, it would have to be The Dick van Dyke Show, a program with the perfect mix of home and family life. It didn’t last too long or was canceled too early, though it almost was. Carl Reiner was smart enough NOT to cast himself as the lead. Richard Deacon (Mel Cooley) was from my hometown of Binghamton, NY. And Mary Tyler Moore wore those capri pants.

MOVIE REVIEW: Crazy Heart

The familiar hellholes Bad plays in is reminiscent of the familiar, easygoing and peaceful characters Bridges has played in the past.

Strange. I saw Crazy Heart back in March, in the theater, just before the Oscars, and was going to write about it then, but couldn’t find the right angle. Then I figured that the next movie I saw would motivate me to finally write about it, but I haven’t SEEN a film since then, aside from a partial one. Now it’s three months later, the movie’s available on video. I was going to say at the time that it was a good rental rather than necessary to see in the cinema, but now I’ve waited so long, that’s about the only way you’re likely to see it.

As you probably know, Jeff Bridges won the Best Actor Oscar for playing rundown country singer Bad Blake, an alcoholic on the downward slope of his career, forced to play small venues such as bowling alleys. He manages to hook up with his female fans as he travels from town to town. His former protege, Tommy Sweet (Colin Farrell), makes it known through Bad’s manager that he wants buy some of Bad’s songs, but Bad’s hidden pain blocks his creativity. Meanwhile, a roving reporter (Maggie Gyllenhaal) falls for him.

The familiar hellholes Bad plays in is reminiscent of the familiar, easygoing and peaceful characters Bridges has played in the past. It’s a good role, and he plays it well, but it is not groundbreaking cinema, and the award, I suspect, is as much a reward for lifetime achievement as for this particular performance.

It’s not that I didn’t like Crazy Heart – I did – but it had a certain “I’ve seen this before” feel. And I didn’t quite buy the hookup between Bad and the reporter, though, oddly, I did believe the relationship subsequently.

Oh, for Christmas 2009, I got the soundtrack for this movie, which is quite good. But it’s better once you see the movie and understand the context. Both Bridges and Farrell do their own singing, and they’re quite competent.

30-Day Challenge: Day 6 – Favorite Song

I own the vast majority of the music released in the 20th Century on the Rolling Stone magazine list, but did only so-so on this past decade.

If you had access to the soundtrack of my mind – my, that’d be VERY scary, and you don’t know how lucky you are – you would know that picking a favorite song is nigh unto impossible. I did select 100 songs that moved me, with my #1 pick here a couple of years back, but such a list is highly fungible.

Besides, that doesn’t mean any of them are my favorites. I’m always thinking, “How could I forget THAT one?” Experienced that phenomenon just recently when I was watching an episode of Glee and hear the song “A House Is Not A Home” and thought, “I’m very fond of the Dionne Warwick version of that song; should have made the list.”

So, I decided to pick a list of three of my favorite songs that namecheck other songs by that same performer:

3. Creeque Alley by The Mamas and the Papas, with the final line, “And California Dreamin’ is becomin’ a reality…

2. Glass Onion by the Beatles with references to Strawberry Fields Forever, I Am The Walrus, Lady Madonna, Fool on the Hill, and Fixing a Hole

1. Sly and the Family Stone – Thank You (Falettinme Be Mice Elf Agin) that mentions, almost in a row, Dance to the music, Everyday people and Sing a simple song

Rolling Stone has updated its 500 Greatest Songs of All Time. Since none of them are from before 1940, I assume we’re talking popular, recorded songs, not of the classical or jazz genre. Still, I note that I own the vast majority of the music released in the 20th Century on the list, but only so-so on this past decade. I own the first 50, indeed, the first 99; #100 is Crazy by Gnars Barkley.

The Tony Awards, celebrating Broadway’s finest, are on this Sunday, broadcast on CBS-TV. I always watch because it’s generally more entertaining than any other awards show. There’s a large number of actors more associated with TV and film who are nominated this year. Also nominated for Best Musical: American Idiot, based on the Green Day album.