At last, a Canadian is cast in Star Trek XI!

The casting for Star Trek XI continues!

Now that most of the basic bridge crew have been assigned, the Hollywood Reporter says Bruce Greenwood — the Atom Egoyan regular who played John F. Kennedy in Thirteen Days (2000; my review) — has been cast as Christopher Pike, who was captain of the Enterprise before James T. Kirk came along.

Pike was played by Jeffrey “I Was a Teenage Jesus” Hunter in the original unaired pilot episode which was shot in 1964 and edited into the two-part episode ‘The Menagerie’ in 1966. ‘The Menagerie’, incidentally, is the episode that will be shown in theatres across the continent three times next week.

Hunter was 38 when he played Pike, and the pilot episode in which he appeared took place 11 years before Kirk assumed command of the Enterprise; Greenwood is 51.

Incidentally, the Reporter claims that Pike was “the Starship Enterprise’s first captain”, but as all Trekkies know, that honour actually goes to Robert April.

Russell Crowe is getting baptized.

I try not to get bogged down in celebrity gossip here, but I do like funny coincidences. So I cannot help but note that, last week, I posted an old video in which Russell Crowe played a guy who thinks about becoming a Seventh-Day Adventist minister, and today, the Associated Press reports that Crowe intends to get baptized soon — though in what denomination is not clear:

“I’d like to do it this year,” the Oscar-winning actor tells Men’s Journal. “My mom and dad decided to let my brother and me make our own decisions about God when we got to the right age. I started thinking recently, `If I believe it is important to baptize my kids, why not me?’”

Crowe says the baptism will take place in the Byzantine chapel he built at his country ranch in Australia for his wedding to Danielle Spencer in 2003. The couple have two sons, 3-year-old Charlie and 1-year-old Tennyson.

“It is consecrated and everything,” Crowe says in the magazine’s December issue, now on newsstands. “Charlie was baptized there. And when Tennyson gets baptized there, I will, too.”

The word “Byzantine” makes me think of the Orthodox church, of course, but it could just as easily be a Catholic chapel.

Beowulf — another marketing oddity


The move to our new apartment is not quite finished it, but it’s getting there. In the meantime, yesterday we received the first pieces of mail that were sent directly to our new address — one of which contained a pair of passes to an Imax 3-D preview screening of Beowulf.

Now, normally, when the studios host a preview screening, they send out a single pass that “admits two” — the assumption presumably being that the person who gets the pass will want to bring a date or a friend. But every now and then, they send out a pair of passes, each of which only “admits one” — and nearly every time they do this, it is for a film that targets the family audience. I have never actually asked why they distinguish between the “admit two” and “admit one” movies, but I assume it is because families come in different sizes, and having a single pass for each person makes it easier to invite the “right” number of people, or something like that.

So I was intrigued to see that the passes for Beowulf were of the “admit one” variety, rather than the “admit two” variety. The film is rated PG-13 in the U.S. for “intense sequences of violence including disturbing images, some sexual material and nudity”, and it is rated 14-A in Ontario for “violence” and “gory scenes”, and it has been promoted online through restricted trailers … but it seems like the preview screenings are getting the “family” treatment, at least in this one rather minor respect.

Is this simply because the film is computer-animated? Is the marketing team behind this film making the mistake of assuming that “animated film” automatically equals “family film”? And if so, is this mistake reflected anywhere else in the movie’s marketing?

The day the Oscar-winning actresses stood still.

Variety reports that Jennifer Connelly, who won an Oscar for her role in A Beautiful Mind (2001), has signed on to play the Patricia Neal character in Scott Derrickson‘s remake of The Day the Earth Stood Still (1951; my comments), while Kathy Bates, who won an Oscar for her role in Misery (1990), is also apparently in talks for some sort of role. They join Keanu Reeves, who has not won an Oscar; he signed on to play the alien Klaatu a few months ago. The movie’s production office has already opened in Vancouver, and the film itself will be shot here between December and March.

Giving a rat his due.


Two months ago, I mentioned that Ratatouille was seen as something of an “underperformer” by Pixar standards. Now that the movie is coming out on DVD tomorrow, I figured a little update might be in order.

It is true that, of the eight films produced by Pixar to date, the rat movie ranks way down at #6 in terms of domestic box office. The film has grossed $205.6 million in North America, which would ordinarily be considered pretty good, but every other Pixar movie since 1999 has grossed between $244.1 million and $339.7 million. What’s more, Pixar films have been earning less and less ever since the studio peaked with Finding Nemo in 2003. So you can see why a cloud might hang over the current film.

However, Variety reported yesterday that Ratatouille has been #1 overseas for the past five weeks, and has so far raked in $371.8 million from outside North America — making it the #2 Pixar hit of all time internationally, after Finding Nemo, which made $524.9 million overseas in 2003.

Put the two figures together, and Ratatouille has so far grossed $577.4 million worldwide — making it the #3 Pixar hit of all time worldwide, after Finding Nemo (2003; $339.7 million domestic + $524.9 million overseas = $864.6 million worldwide) and The Incredibles (2004; $261.4 million domestic + $370 million overseas = $631.4 million worldwide).

So take heart, Ratatouille fans. The film is doing quite well, all things considered. Though I guess the naysayers can always grumble that it hasn’t done much business in the way of merchandising.

Canadian box-office stats — November 4

Here are the figures for the past weekend, arranged from those that owe the highest percentage of their take to the Canadian box office to those that owe the lowest.

Rendition — CDN $1,540,000 — N.AM $9,283,593 — 16.6%
We Own the Night — CDN $3,420,000 — N.AM $27,648,264 — 12.4%

30 Days of Night — CDN $3,560,000 — N.AM $33,970,509 — 10.5%
Gone Baby Gone — CDN $1,340,000 — N.AM $14,786,017 — 9.1%

Michael Clayton — CDN $2,740,000 — N.AM $33,083,619 — 8.3%
Bee Movie — CDN $3,050,000 — N.AM $38,021,044 — 8.0%
Saw IV — CDN $3,680,000 — N.AM $50,398,835 — 7.3%
The Game Plan — CDN $5,930,000 — N.AM $82,035,100 — 7.2%
American Gangster — CDN $3,110,000 — N.AM $43,565,135 — 7.1%
Dan in Real Life — CDN $1,500,000 — N.AM $22,695,653 — 6.6%

A couple of discrepancies: We Own the Night and Rendition were #7 and #9 on the Canadian chart, respectively (they were #13 and #20 in North America as a whole), while Martian Child and Tyler Perry’s Why Did I Get Married? were #7 and #9 on the North American chart, respectively.


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