With the dust barely settling after a barnstorming opening weekend for The Hangover: Part II, talk of a third instalment of drunken hilarity from “the wolf pack” is morphing into concrete action. The writer behind the script for Part II, Craig Mazin, has been approached by Warner Brothers to craft a story for a possible end to the trilogy.
Director Todd Phillips had already let slip, just before the release of the latest film, that he had an idea for Part III. Presumably, on the evidence of Part II, his brainwave is to copy as closely as possible the events of the opening films, but possibly in a different city.
Critics may have loathed the rehash of 2009’s surprise hit but a loyal and wide fan base clearly can’t get enough. It’s no wonder that Warner Brothers are already getting things moving for a third film, with opening weekend figures of £10,409,017 in the UK. Such gigantic starts are usually reserved for British icons like Harry Potter or James Bond, or American superheroes. Successful comedies never reach such stratospheric heights. Bridget Jones: Edge of Reason is the only comic creation ever to better the takings of the latest Hangover (and only fractionally), with past hits like Hot Fuzz and Borat all opening satisfactorily at around £5-6 million.
One huge stumbling block could derail the winning formula for a trilogy however: keeping the wolf pack together. Brad Cooper and Zach Galifianakis in particular, are forging Hollywood careers beyond the franchise. According to Total Film, Galifianakis was “negative” throughout the filming of Part II, no doubt fearing becoming typecast. And as the review at Flickering Myth points out, the comedic charms of Alan are crucial to the appeal of these crazy capers.
If Part III lost any of the film’s big stars, especially Galifianakis, it would surely not reach the heights of Part II. It might not even get made. But, with piles of money to throw at his actors, Todd Phillips might just get yet another amnesiac night on the town.
Who knows maybe British fans will be rewarded by setting the next set of shenanigans in London?
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Tagged 10 million, 2009, 2011, £, Bangkok, blockbuster, box office, Brad, cast, comedies, Cooper, Craig, dollars, film, Flickering, Galifianakis, hit, Mazin, Mrt'sblog, myth, news, Part 2, Part 3, Part II, Part III, Phillips, pounds, ranking, records, rehash, scene for scene remake, sequel, smash, sterling, summer, The Hangover, threequel, Todd, Total, trilogy, Vegas, Zach
The title is theirs. Carlo Ancelotti did his best to fire up the Chelsea players, repeatedly calling it their cup final, but the Red Devils proved too strong at Old Trafford. The Theatre of Dreams has been a fortress of consistency in a curiously unpredictable season. Often it’s appeared as though no one wanted the league enough but ultimately United’s experienced desire was superior, and it was at its lustful best against Chelsea.
It seems as though we might be witnessing a time of real change in football, particularly in the Premiership. Every team in the league is capable of taking points from the top sides. The notion of a traditional top four is crumbling and the ways in which clubs are preserving their success are evolving too. The era of the successful big money signing appears to have past. Of course there are exceptions, with Manchester City the latest to flash the cash, but the big teams doing well this season were not dependent on new signings or even one standout performer. Arsenal may have once again fallen at the crucial stage of the race, but they were United’s primary challengers for most of the campaign. Their squad has grown gradually over the years.
And so has Manchester United’s. Since the departure of Ronaldo to Real Madrid Sir Alex Ferguson has continued to ignore the calls from fans, myself included, for more expensive replacements. Instead he has focused on improving the players he already has by carefully managing their experience of important fixtures, as well as bringing in some future investments (with some paying off early, such as Javier Hernandez). The failures of other teams have proved his strategy right. He has also once again settled on a different tactical vision for his side. Nowhere is this more evident than in the Champions League.
United have not conceded a goal away from home in the competition. They have done this by mastering a drilled and disciplined style of play. In many ways this is at odds with the entertaining, attacking tradition of the club. But Ferguson has been wise enough to recognise that the strengths of his team have changed. In 2008 when they defeated Chelsea in the final, United were a team boasting the sparkle and individual talent of Berbatov, Rooney, Tevez and Ronaldo. These days United have become a highly efficient and effective collective unit. Their starting eleven appears inferior in terms of talent, but they are no longer dependent on stars to succeed.
Having said this they will still need the key players in their unit, particularly Rooney, to be at their best if they are to beat Barcelona at Wembley. This is because the Catalans have the collective mentality of the current United side, as well as happening to have a team bursting with world class footballers. Ferguson insists he knows where his team went wrong in the final of 2009 against the Spaniards. He has been able to rotate his squad with extreme flexibility to get what he wants from a game, with whoever comes in doing what is required of them. But against Barcelona nothing less than his best combination of midfielders will do.
For it was in midfield that United lost the 2009 final. They can take some comfort from the fact that Yaya Toure, who scored the goal that ended United’s treble hopes in the FA Cup semi with Man City, will no longer be an immovable object at Barcelona’s core. It was he that overpowered Carrick and co so fatally. But nowadays the likes of Javier Mascherano are there to provide a defensive screen from which Iniesta and Xavi can create for the devastating abilities of Villa and Messi up front. Somehow United’s players will have to get a grip on possession.
Carrick has been unfairly derided in the past. He is a world class passer of the ball who can provide both a defensive shield and attacking platform. In recent weeks his resurgent form has added vital impetus to a tough run in. But there will still be question marks over whether or not he will perform for the big occasion and whether he will once again be outmuscled. He seems likely to start though given his involvement lately, so Ferguson must decide who to play alongside him and in what formation.
With the main worry being a lack of possession it’s likely we’ll see a three man central midfield, with Rooney leading the line alone. This robs United’s prize asset of much of his threat and his deadly combination with Javier Hernandez. It will also put him under pressure that might lead to frustration, which is a dangerous cocktail for his volatile temperament. Against Chelsea a two fingered salute to the Blues fans was a sharp reminder that the striker is way off the level of maturity required for a captaincy, of England or his club.
Darren Fletcher could be the missing link, as he missed the final two years ago through suspension. He would add the grit that was so evidently missing that night. But this time around its fitness that will be a problem for the Scot. Giggs has been majestic in some vital fixtures this campaign but mediocre in others. Anderson and Scholes seem unlikely to feature, but Ji-Sung Park, especially after his man of the match display against Chelsea, might be chosen to be a busy thorn in Barcelona’s side. It’s interesting and baffling that Dimitar Berbatov, the team’s main source of goals in the league and an undoubtedly dazzling player, is not being seriously considered by any commentators for a starting place. Ferguson does not trust him for the big fixtures and Rooney plays better with Hernandez ahead of him. The Bulgarian’s future will be one to watch in the summer, despite being top scorer.
It’s a one off game at Wembley. Ferguson will have learnt genuine lessons from two years ago and the togetherness of his new team will be a challenge for Barcelona, just as their undeniable quality will be a challenge for United. The tantalising thing for United fans is that if they are successful here, in theory such a young squad should only improve with experience, without the need for drastic and expensive imports.
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We all make mistakes. We all have regrets. Regrets in particular are an undeniably universal part of the human condition and the lives of everyone; from rock star to street cleaner. It doesn’t matter if you’re the flawless Empress of dozens of kingdoms or a waitress in a greasy spoon; there will be things you wish you had done differently. Sometimes, when things get really bad, it’s a cliché phrase of woe to wish that the ground would swallow you up. Usually though you’re probably more likely to be hoping for a window onto the past. A hole big enough to crawl through, or a door if you’re feeling especially demanding. There’s not a soul on Earth, no matter how content they may profess to be, that wouldn’t consider the chance to go back. The chance to revisit a moment when everything changed.
Boiled down to its basics, this is what The Door is all about; that irrepressible human desire to erase what has been eternally written on the pages of history and memory. That craving for just one chance of redemption and the opportunity to take another path, a happier route, on the journey of life. In many ways The Door is an extremely simple tale but it’s one that uses fantasy to suggest dark and disturbing truths about human nature. It will simultaneously cut uncomfortably close to the core of your personal experience and be impossible to imagine and relate to.
The Door is a German film, telling the story of David Andernach, played by Mads Mikkelsen. I was dubious of Mikkelsen’s ability to carry this film off. I am most familiar with him from Casino Royale, in which he played a suitably menacing but also expectedly caricatured Le Chiffre. The way The Door is constructed requires intense focus on the personal viewpoint of Andernach and Mikkelsen is in practically every scene. You really notice it when things centre round his wife for a few minutes towards the climax. Thankfully his performance is varied, convincing and touching at times.
Also good are his wife Maja (Jessica Schwarz) and daughter Leonie (Valeria Eisenbart). Eisenbart is especially excellent as a child actor accurately expressing the knowing innocence of children, reacting to the sensational and dramatic events of the plot. Andernach’s mistress Gia is played by Heike Makatsch, and if I’m being really picky, which I guess I am, her performance was bland and predictable. She does play perhaps the least diverse of all the characters though, particularly when compared to the other more mysterious, male neighbour to the family.
However whilst poor performances could conceivably have ruined The Door, the really standout thing about this film is the story. It’s the sort of plot that can’t be justified in summary. I certainly can’t make my description of it much more alluring than the mildly interesting efforts of the production notes, without spoiling the surprise factor that made The Door so immensely enjoyable for me.
What I can tell you is that Andernach is a famous artist who is over the road fucking the neighbour one day when his daughter trips over her shoe laces and drowns in the family pool. Five years later Andernach is a broken man, begging his former wife for forgiveness. He tries to drown himself in the same pool, only to be rescued by a friend. He then follows a butterfly (his daughter wanted him to catch them with her but he chose a rendezvous with his mistress) to a hidden door that opens onto the day she died. He intends to simply save her and then perhaps alter his future, but he finds himself trapped in the past, lurching from one unintentional catastrophe to another.
In a way I’m tempted to write one review of The Door for those who have not seen it and one for after you’ve all hunted it down and enjoyed its one hour and thirty five minutes or so. It’s a film that raises a lot of big questions and emotional themes that would be interesting to discuss in more depth. You think you can work out its progression from the premise but you probably won’t. I will say that its poignant overall message seemed, for me at least, to be something along the lines of; we can all relive the past if we pay a big enough price and surrender enough of ourselves, but it’s a part of being human to let go and move on.
Trying to bottle up the raw feeling I got from The Door makes it sound far from creative or moving. But watching it with its tender score and acting and simple surprises, you are really sucked in. For once the glowing descriptions of the film adorning the marketing are totally apt and spot on; The Door is a “dark moral fable” and “an accomplished supernatural thriller”. You’ll be gripped by it, fascinated by it and haunted and moved by it. You’ll wonder what you’d do confronted with your own door.
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I’ve been closely following announcements relating to this year’s Booker Longlist and indeed public interest in general seems to be up. According to this BBC article sales of those selected in the initial 13 are at their highest since Ian McEwan’s Atonement was among the nominees in 2001.
Interestingly McEwan’s latest novel, Solar, is one of a number of high profile omissions from the list, with Martin Amis also missing out. There has been debate as to whether this indicates that more humorous storytelling is not being recognised by a judging panel headed by former poet laureate Andrew Motion. Solar has been well received critically elsewhere, with McEwan winning a prize dedicated to writers following in the tradition of comic writer P.G Wodehouse. I’m a fan of McEwan and quickly digested Solar, but disagree with the way it has been portrayed as a purely comic novel. There are some delightful comic set pieces in the book which are beautifully crafted and provide a refreshing contrast to the usual content of McEwan’s diverse work, showcasing a side of his writing repertoire rarely praised. However most of the humour is less direct and subtly layered over the rich characterisation of the bumbling protagonist Michael Beard, with a lot of serious comment on our culture of waste and the greedy nature of mankind as an obstacle to tackling climate change. McEwan also makes us feel pity and other emotions for Beard; we are invited to empathise with an ordinary man of simple needs hounded by the media as well as cringe and giggle at his stupidity.
Ultimately the Booker judges may have perhaps ignored Solar because it lacked the epic sweep present in some of the other nominations and which was certainly there in the “fictional panorama” that was Atonement in 2001. I have only just finished reading The Glass Room by Simon Mawer from last year’s longlist and that was a novel that perfectly demonstrated how grand scales and themes can add to the likelihood of recognition. A story about minimalist architecture and ideas largely taking place in the grim turmoil of Eastern Europe, The Glass Room may not seem ideal “summer reading” material if there is such a thing, but I found it easily readable divided as it was into manageable chunks and driven by compelling human relationships. At times the focus on interlocking loves and sex lives became repetitive but the opening portion of the book in which the idea for a striking, modern home is conceived and then lived in by a complex family driven away by the Nazi menace is so gripping that you are carried to the end of the book by acute curiosity as to the fate of the house and its former inhabitants. Mawer grapples with themes such as fidelity, homosexuality, friendship, the permanence of architecture, the perfection of ideas and the problems of expression when translating between languages. Overall the novel also covers vast historical ground, charting the physical and emotional scars left by seismic political change. I am yet to read Hilary Mantel’s winning novel from last year, Wolf Hall, which sits expectantly in my room but it too was suitably epic and historical and I would guess superior to The Glass Room, despite its strong points.
This love of the epic and grand and historical continues into this year’s longlist, if not literally then in the depth and intensity of content. The Room by Emma Donoghue and The Slap by Christos Tsiolkas both deal with particularly intense or extreme experiences for example; a child’s captivity in The Room and a child slapped by a stranger in The Slap. The Thousand Autumns of Jacob de Zoet, the latest and most conventional offering yet from one of my favourite authors David Mitchell, is set in colonial Japan. It is the only title from this year’s list I have read so far and it was suitably epic whilst less engaging and cinematic than his previous offerings. I have ordered The Slap as I am intrigued by its differing narrative perspectives, the gripping nature of one moment in time rippling outwards with consequences and a view of Australian culture I am not familiar with. Generally I am surprised with how tempting I find most of the books selected for this year’s longlist, judging by extracts I have read via the Guardian website.
C by Tom McCarthy also interests me as it is supposedly experimental whilst also continuing that theme of grappling with grand ideas such as communication, science and discovery. The Finkler Question by Howard Jacobson seems to be excellently written and contain that humour some thought to be lacking after the exclusion of McEwan and Amis, going by the Guardian extract. All the others, as you would expect, seem well crafted and I encourage you to take a look at the previews. Here is the full 13:
- Peter Carey, Parrot and Oliver in America
- Emma Donoghue, Room
- Helen Dunmore, The Betrayal
- Damon Galgut, In a Strange Room
- Howard Jacobson, The Finkler Question
- Andrea Levy, The Long Song
- Tom McCarthy, C
- David Mitchell, The Thousand Autumns of Jacob de Zoet
- Lisa Moore, February
- Paul Murray, Skippy Dies
- Rose Tremain, Trespass
- Christos Tsiolkas, The Slap
- Alan Warner, The Stars in the Bright Sky
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