"I will own you stupid random alien...dude!"

Video game adaptations will never die, despite what we all might think after the abomination trilogy  on the big screen that is Resident Evil. Still taking great advantage of this semi popular genre of sorts, Universal Pictures nabbed itself the rights to the hit 1979 Atari game, Asteroids. For those of you who do remember the game, its the one where…you just hit asteroids and ocassionally a flying saucer. Yeah, I know.

Matthew Lopez will pen the script with Lorenzo di Bonaventura producing, and yes Di Bonaventura is attached as producer to the upcoming late summer movie, G.I. Joe: Rise of Cobra. Pertaining to the actual storyline, it has not been revealed but due to the very simple nature of the video game and overall lack of plot, Universal Pictures will conjure up some form of an original storyline for this feature. After all, this is the booming studio that is coming up with ideas for features out of such classic board games like Candyland.

I was fortunate enough to catch up with Mr. Collins Jr. and discuss his recent turns in blockbusters, his grandfather, and his hand in directing. The interview was conducted around the time of his birthday so that’s why there’s well wishes at the start.

First of all, this isn’t a question but happy birthday to you!

Thank you for the birthday wishes! I was planning on skipping it this year,
but then I got invited to go to the CMT awards with my Zac Brown family to
partake it the celebration of The Zac Brown Band double CMT nomination! A
bit surreal I must confess!

You’ve directed two music videos for the Zac Brown Band (”Chicken Fried” and
“Whatever It Is”.) Do you plan to jump into features sometime in the future
or strictly keeping it to acting for now?

I am already in a deep collaboration with producers on a film that I am very
passionate about. I believe that a love of story telling can be explored in
many different avenues. That’s one of the reasons why I like country music
so much, the stories. However, to answer your question, yes, I am moving on
to directing movies.

How did you land the gig directing the two music videos?

It all started with a phone call about the writer’s strike. My manager, Kim
Callahan, told me that it was gonna start to get slow. Needing a creative
outlet, I called John Black from the “Soul of John Black”, and asked if he
had a video to a particular song that I really liked. He said “No’ and then
I told him that  I had this fun idea for a video where I could also Tap
dance to, which is something that my grandfather got me doing at the age of
7, but I’ve never done in front of the camera. John Black was down. After
that I did another video for him and with those two videos my managers at
ROAR were able to show Zac Brown, who they also represented. Zac was in
between labels and their song “CHICKEN FRIED” was burning up the charts. He
said I loved your dance video (can be viewed here) on the stoop and then he began to meticulously
take apart my 2nd video like a master mechanic it was then that I realized I
was dealing with a full blown artist in every definition of the word! Zac is
a badass! Collaborating with him was an artists dream. The rest is history
as they say.

I know in order to film the videos you had five days off of Extract, a new
Mike Judge comedy. What’s your role in that flick and could you provide any
insight to what it’s about?

In the GENIUS Mike Judge’s film EXTRACT, I play a simple guy named STEP. I
have a little accident at work, that would be most men’s greatest fears next
to dating Lorena Bobbit, and this extremely beautiful woman named CINDY,
played by the most profoundly talented Mila Kunis finds out about this.
CINDY tries to blind me with her alleged love, all the while trying to get
me to sue this major company that I work for, but all I want to do is to
earn my keep and become a “somebody” in this company.


Your grandfather, Pedro Gonzalez Gonzalez, was a well-known character actor
and for those who don’t know, he was the hotel keeper in Rio Bravo. Did his
style of acting influence yours in any way?

It wasn’t so much Grandpa’s style, so much as it was his love and passion
for entertaining, and his work ethic. He instilled in all his kids and
grandchildren to always be proud of your work, be the best that you can be,
always have confidence in yourself, and to never let the fans down. In the
beginning of my career, most of my friends were all gang bangers and or low
riders. Those being my peers at that time, I had no desire to play other
people. My grandfather kept reminding me that I could do so many different
things if I wanted to because of my light completion.

Do you feel changing your name as you did in 1990 to Clifton Gonzalez
Gonzalez brought any attention to your grandfather’s great work in the 50’s
and 60’s?

Changing my name to Gonzalez Gonzalez certainly did bring attention to his
work. It’s not everyday that you meet a Mexican named “Clifton”! Also, quite
a few people in Hollywood already knew my birth name to be Collins, so it
came as a surprise when suddenly I’ve got not one Mexican last name but
TWO!! If that’s not a good conversation piece, then I was also allowed to
start auditioning for Mexican roles

With the way you greatly prepare, how did you prep for the Perry Smith role
in Capote? Basically, did you study him directly and try to imitate him or
add your own spin to how he was?

Wanting to do the portrayal of Perry justice, I attempted to obtain footage
and or any type of known audio. I did manage to get some video on him, but
it was with no sound. That said, I wasn’t able to pick up on any kind of
cadence in speech patterns that he may have had. So on one hand I was
jealous that Phillip had so much footage to go off of, which we both enjoyed
watching and then on the other hand it was both liberating and challenging
to be able to go create and just be. I used everything from the book “In
Cold Blood”, to studying Perry’s body posture in the many photo’s that I was
able to obtain, to studying and reading his handwriting from letters I
acquired. I also listened to a lot of Hank Williams Sr., which were many of
the songs that he was able to play. All that compiled on top of a lot of
soul searching and wrestling with my own devils is what brought Perry Smith
to life. And of course Bennet’s meticulous guidance, rehearsals which I am
forever thankful for and the fine company is which I was so honored to be
able to act with.

I just want to go ahead and get this out of the way; you’re slated to be in
The Boondock Saints II as well. Is it actually coming out this year or is it
another eight centuries before we see it? Any details or scoops for us?

My good man and the ever patient BDS Fans wait NO MORE! Comic-con this year,
well, how about NEXT MONTH? Does that sound good? We, meaning most of the
main cast will be there with the ever charming and charismatic Troy Duffy
himself to not only do a Q & A but to also reveal the new Boondock Saint’s 2
trailer. I’ll reveal this much; its super sweet and the BDS fans will
definitely be getting theirs! I’m pretty excited about this myself, even if
I wasn’t in it!

Seeing as how Star Trek is one of the biggest films of the year, I have to ask you
about your experience on it and how did you enjoy whooping up on Kirk for a
minute.

It goes without saying that working with JJ and his staff is always a good
time. His sensitivity and love for actors, story telling etc, is always a
safe haven for any entertainer. Regarding Capt. Kirk, I just love doing my
own fight scenes, having been fighting since I was 15. It’s something that I
always wanted to do, the grandeur of it all not even registering until way
after it was over. Working with Pine was a good time as well, that’s a good
dude.

Was Crank 2 as fun to make as it was to watch?

Yes, Crank 2 was a sheer blast to make. Both Brian and Mark gave me free
range to polish El Huron, and to run amuck. These two guys are constantly
breaking the rules, and what you get when that happens is new stuff to try,
new things that you never thought of before etc. They put the fun back into
film making for me, and for that, I thank them. The entire cast was a blast,
and working with Statham was a joy, not to mention I am also a fan. I only
wish the shoot were longer. As I said earlier today on set, I was living in
a mansion in Malibu and had sexy ass naked women walking around my yard and
pool area every single day, and I thought to myself “man, it doesn’t get
much better than this!” I didn’t want it to end.

You’ve played a vast majority of heroes and villains in your filmography. Do
you prefer playing one over the other?

I like playing complicated complex characters; those are usually the bad
guys.

You said you had a chance to work on Saving Private Ryan as a German (which
by the way, is impressive you learned a German monologue in two days) and
have cited Spielberg as one of your favorites. Has he ever called you back
to work on any thing yet?

The Saving Private Ryan audition is one that I’d like to put on my resume.
Just performing on that level was such a blast and so much fun. To study a
German monologue and making it sound real and not having the sides in my
hand while dropping it on tape is such a rush. I have not worked with
Spielberg as of yet, but my career is still young and growing. One day I
hope to be so lucky.

Unfortunately, I didn’t get a chance to do this, but I’d now like to thank Mr. Collins Jr. for donating his time to answer these questions. Looking forward to that Boondock Sains II presentation as well as what he goes on to direct in the future.

“Chicken Fried” can be viewed here while “Whatever It Is” can be viewed here to get sense that Collins Jr. has some pretty good talent as a director.

In an interview with Robert Rodriguez, he discloses a tiny bit of information in regards to the plot:

But it still involves a very intense group of people stranded on a Predator planet discovering unspeakable horrors (that are not always from outside their group). So like the original movie, the title does have a double meaning.
Aliens was a different take on the Alien idea, and an original movie in it’s own right, and that’s what we want to do with this.

As to how this movie will be viewed, one of the guys at Fox told me “No one is ever going to talk about AVP again after this film, I will stake my life on it.”

Rodriguez is currently attached as a producer on this film, also with his well known company Troublemaker Studios.

Fuzzy face.

Dugan’s Grown Ups stars the fabo cast of Adam Sandler, Kevin James, Chris Rock, David Spade, Rob Schneider and the lovely Ms. Salma Hayek. The story is about five best friends from high school who reunite 30 years later on a Fourth of July weekend.

Dugan has also directed Big Daddy and Happy Gilmore.

Thanks to ERC via /Film

Not bad for a film that can not find a friend in the press.

The critic/audience gap aside, our pals over at Moviemistakes.com alerted us to the obscene amount of blunders made during production. MM counted 40 mistakes, which makes the Michael Bay feature the “most mistake-ridden movie of the year”, surpassing the 19 goofs from Angels & Demons.

Any chance to post a pic of Megan Fox, I will take it.

My favorite mistake: When Sam is brought to the cemetery to meet Optimus, you can see the green mark on the grass where Sam is supposed to stand while talking to him.

Check out the site for more goodness.

While you’re here, how about you check out Atomic Popcorn’s review of the film from our crack staff of cinematic bloviators?

Matthew Snider – “Bay does know what he is doing whether you like him or not; he put together some of the cleanest actions shots around, if you ask me.”

Philip Barret – “As much as audiences believed a man could fly in 1978, they’ll certainly buy that Spielberg and Bay are keeping the Autobots hidden somewhere in an abandoned Hollywood lot.”

Erik Buckman – “One can have all the BOOM, hotness and amazing special effects they want but if the story is a mind-numbing waste of time, then the movie is an epic fail. Exhibit A: Transformers: Revenge of the Fallen.”

ANDY GATHMAN: I saw the first Ice Age when we were visiting relatives and my then-three-year-old happened upon the movie box and insisted on watching it with us. Though he was enthralled, laughing wildly throughout, I felt I could take it or leave it. It seemed very much a movie for children and not nearly as well developed as, say, Shrek (Dreamworks) or Finding Nemo (Pixar/Disney). On this third installment, however, the Ice Age franchise seems to have improved upon the original formula and worked in plot and character nuances that held my attention and interest through the duration of the film. My son (now four) loved it, and I enjoyed it as well.

PHILIP: And I’m sure the film will play well to kids, as well it should. It’s not exactly a terrible movie, but it’s not without it’s problems either. The biggest one in my opinion stems from how unnatural the actors seem to be at times. A couple of times I felt the actors were talking “at” each other rather than “to” each other. The best example I can use is in the begging when Diego and Manny are having a discussion. Denis Leary and Ray Romano seem to be operating on different plains.

ANDY: I agree that the film has some problems. In particular, it doesn’t get off the ground very smoothly. The conflict Sid and Diego have with Manny as he is preparing for a child isn’t very convincing to begin with. At the same time, I applaud the attempt to explore one of the difficult dilemmas faced by every new parent: how to maintain loyalty to one’s friends on the verge of a change that is bound to change everything. And as clumsy as the conversation between Manny and Diego was, that is when I thought things really picked up steam.

PHILIP: It’s a theme the film builds upon over the course of it’s run time and no doubt it’s a nice one to follow. Things didn’t really kick off for me though until we’re introduced to Buck voiced by a true talent in Simon Pegg. He’s silly without going overboard and gives the picture a much needed shot to the arm that it was teetering with before he came into the fold. He’s Solid Snake but more outlandish, and the film is way better for having him.

ANDY: For me it picked up considerably when Sid happens upon the dino eggs, and begins attempting to raise them as his own. Though it was a brief section of the movie before mama T-Rex takes Sid and her babies away, they made the most of the scenario and piled on plenty of gags. How can you not when you have a prehistoric sloth attempting to be mommy to three baby dinosaurs. Favorite moments for my son (judging by the laugh-factor) were the toboggan ride with the three eggs and the playground mess. But your point is well taken—without the addition of Buck, the mad one-eyed weasel, the movie would have groaned to a dragging conclusion. As it turns out, he stole the show from the moment he makes his vine-swinging entrance, until he finally says goodbye and destroys the cave linking the surface with the cavern that time forgot.

Like Vince says, "you're gonna love my nuts."

PHILIP: That’s what surprised me most about the film was that I was able to feel something good for a character. A sense of depression came to me when Buck wanted to go back. I wasn’t crying my eyes out but at the same time I wanted him to go back with the rest in case there’s an Ice Age 4. Touching on Sid though, I absolutely hated him. Understandably he’s the village idiot but there was something in John Leguizamo’s voice that didn’t sit well with me. Whatever it was had me rolling my eyes anytime he ungraced us with his presence.

ANDY: Certainly that’s one of the main themes of the Ice Age movies—a herd formed not because everyone is alike but in spite of everyone’s differences. When you get down to it, there’s something to dislike about each character, and yet their commitment to one another is what keeps the “family” intact. Sid, though, is certainly is the least lovable of the bunch. Still, they choose to love him, even when they are given an obvious out (“Uh oh, the dinosaur took Sid away. Too bad…may he rest in peace.”) Manny in particular risks not only himself but his whole family to rescue the “village idiot.” Why does he do this, when he loathes the creature as much as we do?

PHILIP: Because of the dedication to family, and also an interesting point. Plus, you’d be hard pressed to find a group or family that doesn’t have the moron of the bunch (some parts of my own family would make the case that it’s me, but they can snuff it.) The point Andy is making is that Sid, regardless of how bad of an idiot he acts like, is still a part of their family. Thus they feel the need to protect him and rescue him, even if he’s the black sheep. We might be being a little bit too analytical of a kid’s film, but it’s nice to see that some thought was put forth rather than none.

ANDY: Yes, we digress, but as I mention earlier, I appreciated that the filmmakers found a script that worked on multiple levels. Woven through it all are plenty of jokes and sight gags to keep you laughing, right up to the end. All told, it was a better than average kids movie, and I’d say probably the best of the Ice Age trio. Two days later, my four-year-old is still talking about it, and I didn’t find myself cringing when he asked if we could see it again sometime soon. For anyone considering this movie, chances are your kids will love it, and you won’t hate it.

PHILIP: I concur. I fully expected to come into this getting another silly, asinine kids film. While at times this is what the movie gave me, I came away liking parts and was completely taken with Buck. A note though, I saw this film in 3D and I don’t know if it’s the glasses but the animation didn’t look as pristine as it should. Up had a similar problem too but this was just atrocious. In any case though, the film will play fine to it’s audience and at the end of the day, that’s all that really matters.

Andy’s Grade –

Rating: ★★★½☆ 

Rating: ★★★☆☆ 

Let’s address the look first which many have whined over since the first trailer has been released. Mann re-teamed with Dante Spinotti, the genius who helped him shoot Heat, for this picture and they used the new Sony F23 to film a good chunk of scenes. It looks nothing short of gorgeous and immerses the viewer in the 1933 era Mann so perfectly recreates. Had the picture been shot on film, the era would have been given a “glory days” type feel to it and that was never the intent of this story. Spinotti and Mann want to put the audience in the era, and shoot certain scenes as if one is next to Dillinger and company as they joyfully escape a prison or just had a successful score. Even better is a scene where Dillinger and Billie Frechette make love. Billie’s explanation of herself is inter-cut with the two engaged in intercourse to create cinematic beauty. The love-making is aggressively shot, in contrast to the stoic way Mann films the quieter moments of the scene. Perhaps though the best directed scene is Dillinger’s demise (which if you cry fowl over, do some research) and is nothing short of brilliant. Mann builds the scene by showing Dillinger watching Manhattan Melodrama and gives one the feeling Johnny thinks that’s him up on screen while Melvin Purvis and company wait patiently outside for him. It’s all subtle, yet pure magic as it unfolds to leave the viewer breathless.

Then of course, there’s the action and oh my, how amazing all of it is. By comparison, Michael Mann makes Michael Bay repeat every grade since pre-school. In fact, this is the most action packed of any of Mann’s films and he doesn’t fail. Where most directors blow their wad thirty, sometimes ten minutes into the film, the auteur that is Mann patiently builds up to an explosive shootout in Wisconsin that is arguably the best shootout since Mann’s own Heat. The action is placed wisely, moving the plot forward rather than slowing it down or happening just because it can. The opening prison break, as well as the other action pieces, all have a beginning, middle, and an end. But again, all the ones prior to the Wisconsin shootout don’t overshadow it and let it take center stage. Here is when Mann decides to go all out and deliver nothing but balls to the wall blitz and gunfire. What results is an edge of your seat sequence that blows the pants off of 99% of the summer blockbusters that claim to feature “dazzling action” or “superb effects”. Likely one will wish their theater handed out complimentary Tommy guns so they can fire back at the screen. The action in this film is just that terrific and is incredible and immersing the viewer into feeling like they’re there.

Every male’s dream was made a reality when Mann casted Christian Bale and Johnny Depp as the two leads and neither man disappoints. Let’s start with Johnny Depp who plays John Dillinger as reserved. True, Depp is known for being outlandish of his other roles but here he fits like a sequined glove. Like Vincent in Collateral, Depp’s Dillinger is cold and calculating but the epitome of slick and cool. The film obviously characterizes him as our protagonist, our hero, so you want to root for him. Mann has always excelled at making the villains the hero and here it’s no different. He shows Dillinger as an individual goes for the gold damning the consequences. Once faced with the consequences he finds a way out of it and it’s easy for Depp. Nothing comes off forced and not once does one wish for another actor to embody Dillinger. Much like Johnny himself, Depp has a presence that’s unparalleled. He commands the screen like few other actors have the ability to do and really feels at home here.

Complaints likely will be made about his relationship with Billie Frechette played by Oscar winner Marion Cotillard in that they lack chemistry. These people are wrong in every sense of the word. Their relationship isn’t in your face and much like everything else in the film is handled very subtly. Marion portrays Billie as someone who didn’t think much of herself and wasn’t headed anywhere until Dillinger came into her life. While it would have been nice to have another scene with them (and that’s one of the very few strikes against this film,) what we’re given is enough for one to form their own opinion on what their relationship was. Cotillard is fine as Billie, hitting the right notes and clicking just dandy with Depp’s Dillinger. They seem natural and not “in your face” or sappy.

The best performance though comes from Christian Bale as Melvin Purvis. He’s ten times better here than he was in Terminator Salvation and The Dark Knight. Purvis here, is the young hotshot who’s just making his way up the ladder. Instead of making jokes left and right, this iteration is unsure of himself and of the FBI. One of the best shots in the film comes during Purvis’ confrontation with Dillinger. “Do you think this’ll hold me?” Dillinger retorts or something to that effect and Purvis stops to give a very soft-spoken look of doubt. It’s a great counter to Depp’s confident Dillinger while making one sympathize for Purvis. He’s quite possibly the antagonist, but one that’s hard to root against. He wants Dillinger, like a kid wants a new toy on Christmas but he’s unsure if he’s going to get that shiny new bike. Bale is virtually flawless while never succumbing to what hindered his performances in his last few outings.

The supporters all lend a wonderful hand in making the film as great as it is, the standout being Stephen Lang who’s worked with Mann before. Also wonderful is Billy Crudup as J. Edgar Hoover, playing him as a tough yet subdued boss. The real star here though is Mann’s direction. Likely, it’s the best directed film of the year so far and should (hopefully) earn a golden boy come February. No shot is unwelcome and Mann proves once again why he’s one of the best at placing music in his pictures. He conducts his actors in his own way, and the result is sheer genius. One might complain about his shots being “too shaky” but it’s not overdone and is meant to feel like the audience is looking at it. Mann has always achieved that in each of his movies and here it’s no different. Where Miami Vice was watching a maestro at work, Public Enemies is watching said maestro paint another masterpiece.

Mann always sticks some themes into his pictures and personally, different people are going to take something different from all films, not just his. Public Enemies gives the sense that Dillinger lived the American Dream in his own way. He was a celebrity (again, something else the film should have touched on a little bit more) due to his Robin Hood nature and even he had a kick out of it. With Frechette and Dillinger’s relationship, it feels as if Billie is filling a void in her life. For Dillinger it’s just going through the motions yet the film leans more toward Dillinger having feelings for Frechette. Did he? Mann ultimately leaves it up the audience to decide.

Melvin Purvis is the embodiment of a traditional hero. He knows the old way isn’t working and wants to shake up things. He represents the law our world is used to, and not the one that would let gangsters and such get away. In some respects the hero’s journey could be applied to him as he doubts himself, then is told by his superiors Dillinger is going to be a tough act to catch. He perseveres through it all, much like Luke does during the original Star Wars films. One of the final shots of Purvis walking down a Chicago street as chaos errupts around him, dressed in white. It’s this imagery that speaks good will prevail no matter how cool or chic bad might be at the time.

In case the previous 1503 words weren’t enough, I loved Public Enemies and feel it’s one of the years best. It comes with a warning though as Michael Mann’s style of filmmaking doesn’t cater to the masses. Through and through, this is a Michael Mann film that’s unapologetic in it’s approach and execution. Public Enemies demands one think on it and even watch it a second or third (or likey to be in my case six-hundredth) time to fully appreciate it. It’s not a film that one can easily come out of and proclaim “IT’S SO AWERESOME!” and needs time to chew on. Public Enemies isn’t for everyone, but for those it’s catered to, they’ll have witnessed a master who’s added another masterpiece to his repertoire.

Rating: ★★★★★