Andrew Breitbart’s new group blog forum for film industry conservatives launched yesterday. First day’s posters include Andrew Klavan, John Nolte, Orson Bean, Melanie Graham, and “Veritas Obviam” (who obviously does not want to lose his career). Perhaps this one will fill the badly needed role of main conservative outlet for commentary on new movie releases and the ideological excesses of the establishment film industry.

To commemorate the US release next month of Stephen Soderbergh’s Che biopic starring Benicio Del Toro, Reason’s Nick Gillespie takes a skeptical look at the community of fashion’s love of Communists used as iconography.

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Clara Moskowitz describes how Hollywood updates message Sci Fi cinema. In the end, audiences will find that Keanu Reeves is no Michael Rennie.

If aliens ever visit Earth, they’ll be coming to reprimand us for bad behavior.

That’s the premise of the 1951 classic sci-fi film “The Day the Earth Stood Still,” as well as the brand-new Fox remake of the same name, in theaters Friday. In the intervening 50 years, humanity hasn’t gotten any better, the filmmakers seem to conclude — we’ve just switched to new transgressions.

In the mid 20th century our most pressing concern about ourselves was the threat of humans annihilating each other with nuclear weapons. The original film follows Klaatu, a human-looking alien who comes to Earth with his bodyguard robot Gort, to warn people to cease and desist with the nukes before we contaminate the rest of the Galaxy with them.

The new version of the film focuses on a more contemporary preoccupation: the threat of climate change and environmental degradation. The new Klaatu, played by Keanu Reeves, couldn’t care less if we blew ourselves to bits, but would we mind not taking out the rest of the species on Earth, as well as our rare habitable planet, with us? ..

..It falls to astrobiologist Helen Benson (Jennifer Connelly) and her stepson Jacob (Jayden Smith, son of Will Smith) to convince Klaatu that humans aren’t beyond redemption, that we really can change our gas-guzzling, trash-dumping ways.

“In re-imagining this picture, we had an opportunity to capture a real kind of angst that people are living with today, a very present concern that the way we are living may have disastrous consequences for the planet,” (deep-thinker Keanu) Reeves said. “I feel like this movie is responding to those anxieties. It’s holding a mirror up to our relationship with nature and asking us to look at our impact on the planet, for the survival of our species and others.”

In a sign of its own commitment to change, Fox designated “The Day the Earth Stood Still”as its first “green” production. Though some trees were doubtless harmed in the making of this film, the studio endeavored to produce the picture with the smallest possible environmental impact. That meant less paper printing of photo stills for the art department, the use of recyclable materials and biodegradable products to create sets and props, and lumber from sustainably-managed forests.

The studio even enforced an “idle-free mandate,” whereby any member of the crew sitting in a production vehicle for more than three minutes had to cut the engine rather than idle while waiting.

In another grand gesture, Fox plans to transmit the entire film into space on Friday via dish antenna through the Orlando, Fla.-based Deep Space Communications Network firm. In what the studio is calling “the world’s first galactic motion picture release,” the movie will be broadcast in the direction of the closest star system, Alpha Centauri, where eager aliens waiting with popcorn could view it by 2012, when the signal arrives.

Some might suggest that physically transmitting the complete set of distribution prints into deep space would be even better.

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The second batch (David Lynch and M. Night Shyamalan) is much better than the first.

I think of myself as a cinemaphile, but I had no idea who Diablo Cody, Jason Reitman, Kevin Smith, and Wes Anderson were. Once I looked them up, I had at least heard of their films.

Second batch: Diablo Cody/Jason Reitman David Lynch, M. Night Shyamalan 4:11 video

First batch: John Woo, Kevin Smith, Wes Anderson 3:18 video

Why not Quentin Tarrantino and the Coen Brothers?

Via LabRat.

Hat tip to Karen L. Myers.

The Telegraph reports an especially flagrant case of Hollywood partisanship.

The studio has temporarily blocked the release of the DVD version of the 1987 film Hanoi Hilton, which will feature an interview with John McCain, the Republican presidential candidate, about his imprisonment in Hoa Lo prison during the war.

The film, which gave a favourable portrayal of US prisoners, will now be released on November 11 – a week after the election.

Warner Brothers’s decision is likely to raise suggestions that it did not want to aid Mr McCain’s campaign by highlighting his wartime acts. The Republican candidate, who was a Navy pilot, was tortured during his imprisonment after being shot down over North Vietnam in October 1967.

Barry Meyer, the company’s chairman and chief executive, last month attended a fundraising dinner for Barack Obama, Mr McCain’s Democratic opponent.

The move has angered Lionel Chetwynd, the film’s writer and director, who is a well-known conservative.

“Finding someone in Hollywood who says they don’t want to affect the election is like finding a virgin in a brothel,” Mr Chetwynd told the New York Times.

Paul Reiser, another HuffPo spokesman for Hollywood, sees McCain supporters as schoolyard bullies picking on him, and stealing his lunch money, read: the democrat party’s presidency.

He’s so self-righteous and annoying, you can see how bullying him would be very gratifying. No presidency for you, you little wimp.

“I wish I didn’t have to take your lunch money, but you should’nt of hadda brung it.”

We’re in the 3rd grade again. The skinny, smart kid who just moved in to the neighborhood is getting roughed-up by the asshole bully. The kid who hits you in the head with your hand and says, “Why’re you hitting yourself? Why’re you hitting yourself?”

“Um, actually I’m not. You’re hitting me.”

“You calling me a liar?”

“No, I’m just pointing out that…” SMACK!

“Why’re you hitting yourself?”

And there seems to be no one to appeal to. There’re no grown-ups around when you need ’em. No one to step in and say, “Alright, that’s enough now. We don’t do that here, fella.” And in the absence of any authority, the asshole gets to keep doing it.

“Why’re you hitting yourself? SMACK! Why’re you hitting yourself?”

From the few minutes of the GOP convention I could stomach watching, all I could think was that Giuliani and Sarah Palin were doing some big-person, lethal version of “I know you are, but what am I?”

America: “Well, respectfully, Governor Palin, it could be argued that you are, in fact, relatively inexperienced.”

Her: “I know you are but what am I?”

“Hm? No, perhaps you misunderstood. We are talking about you.”

“I know you are but what am I.”

“Well, Governor, just listening to your speech, you seem awfully caustic.”

“You are.”

“And, frankly, a little bitter.”

“You’re bitter.”

“I mean, where’s your sense of humility?”

“I’m rubber, you’re glue. It bounces off me and sticks to you.”

“My God – you’re… dangerous.”

“I know you are, but what am I?”

Maybe that’s the problem. Obama treats us like adults, and McCain’s team treats us like children.

Obama seeks to inspire and raise us as a nation. McCain’s people want to reduce us to infants.

Obama asks us to be deep. And courageous.

McCain prays that we’re simple. And cowardly.

Now everyone is calling for Obama to “get angry.” “Get out there and frown this way, curl your lip that way, and clench your fist like so.” And, I don’t know….. That’d be cool. Sure. But I don’t think the fix can come just from him. There’s only so much the guy can do. It’s going to have to be us. I don’t know what exactly we need to do, but I know we’ll do it. I have to believe — I mean I really have to believe we’re big enough, strong enough and smart enough to reclaim what’s ours. I love my children too much to let the assholes take over the school yard.

Another class act from Huffington Post: the screenwriter of the preachy agitprop box-office bomb North Country*, Michael Seiztman heard Sarah Palin in her ABC interview choose the George W. Bush-preferred pronunciation of nuclear, and proceeded to go ballistic on all you Americans who fail to measure up to his personal standards of pronunciation, deportment, and political correctness.

*Budget $30,000,000 — Gross revenue $23,624,242

Repent immediately, or else!

I realized three things tonight. For one, if you are a McCain/Palin/Bush voter, you and I do not have a difference of opinion. We have a difference in brain power. Two, she really is as ignorant as I feared. And, three, she really is kinda hot. Basically, I want to have sex with her on my Barack Obama sheets while my wife reads aloud from the Constitution. (My wife is cool with this if I promise to “first wipe off Palin’s tranny makeup.” I married well.)

Now, I want to be clear and speak directly to those of you who LOVED that Palin interview. You’re an idiot. I mean that. This is not one of those cases where we’re going to agree to disagree. This isn’t one of those situations where we debate it passionately and then walk away thinking that the other guy is wrong but argued well. I’m not going to think of you as a thoughtful but misguided person with different ideas who still really cares about the country and the world. No, sorry, not this time. This time, if you watched those interview excerpts and weren’t scared out of your freakin’ mind, then you’re mentally ill, mentally disabled, or mentally disturbed. What you are NOT is responsible, informed, curious, thoughtful, mature, educated, empathetic, or remotely serious. I mean it.

But I like to think that anyone can change.

Stop voting for people you want to have a beer with. Stop voting for folksy. Stop voting for people who remind you of your neighbor. Stop voting for the ideologically intransigent, the staggeringly ignorant, and the blazingly incompetent.

Vote for someone smarter than you. Vote for someone who inspires you. Vote for someone who has not only traveled the world but who has also shown a deep understanding and compassion for it. The stakes are real and they’re terrifyingly high. This election matters. It matters. It really matters. Let me say that one more time. This. Really. Matters.

Face it, Seitzman, George W. Bush graduated from three better schools than you did.

We live in a tragic age, in which control of far too great a portion of the arts is in the hands of witless vulgarians, like Seitzman, who respond to the quirks of fate allowing pseudo-intellectual clods like themselves too near the center of the stage with complacent self-infatuation and Neronian fantasies of the exercise of political power.

I’ve rarely seen a blog post which demonstrated, so definitively, its author’s complete lack of the supposed superiority which forms the entire basis of his diatribe.

Mac may be humiliating poor old PC in those amusing television commercials, but both of them have been caught napping by the penguin in the high tech world of special effects, Stephen J. Vaughn-Nichols reports at ComputerWorld.

While top animation and FX (special effects) programs are run on Macs and some of them, like RenderMan Pro Server are being ported to Windows, it’s on Linux clusters that the really serious movie and television visual effects are created. As Robin Rowe writes at LinuxMovies.org, “In the film industry, Linux has won. It’s running on practically all servers and desktops used for feature animation and visual effects.”

Rowe’s not just being a Linux booster. It’s the Gospel truth. The animation and FX for Indiana Jones and the Kingdom of the Crystal Skull; Star Wars: The Clone Wars; WALL-E; 300; The Golden Compass; Harry Potter and the Order of the Phoenix; and I Am Legend, to name but a few recent movies, were all created using Pixar’s RenderMan and Autodesk Maya running on Linux clusters.

The really short version for why this is so comes down to Linux clustering enables you to put massive computational firepower into rendering 2D and 3D images. It’s ironic. While getting the most out of NVIDIA and ATI graphic cards on a Linux desktop is still a pain and there’s always some trouble dealing with proprietary video formats on Linux, the top animated and FX-heavy videos usually have their start on Linux systems.

Specifically, most photo-realistic special effects are created with programs using Pixar’s RISpec (RenderMan Interface Specification) compliant programs. RISpec is an extremely detailed open-standard set of APIs (application program interfaces) for 3D graphics rendering programs. To be more precise, RISpec isn’t quite an open standard. While Pixar, the animation giant owned by Disney, has published the specifications for all to use, and no longer even requires a no-charge license to create a RISpec-compliant rendering program, Pixar doesn’t go out of its way to specify exactly how developers can, or can’t use RISpec.

That said, there are open-source RISpec-compliant programs like Pixie and other rendering programs such as Blender, which can be used as a source for RISpec software. Pixar’s RenderMan software suite itself, while it relies on Linux in most animation and FX shops, is unlikely ever to be open-sourced.

So, while you can’t point to animation and special effects software as a major win for open-source software, there is absolutely no doubt that every time you gasp at a breath-taking escape by Indy or grin at a particularly clever visual bit of fun in Ratatouille, you’re appreciating the power of Linux.

Paul Collins at Stale tries some recipes from Vincent Price (Y 1933)’s 1956 cookbook.

My wife and I—she being the Mary to my Vincent—began our day of all-Price cooking with one of his great culinary loves: pancakes. They’d already come a long way from the days of a 1935 cookbook like Someone to Dinner, where the recipe for crêpes Savannah reads, in full, “Pancakes, the ordinary size, served with hot maple syrup.” No such fainthearted stuff for Vincent: The name Banana Pancake Flambé Stonehenge alone murders all culinary competitors. You wrap sautéed bananas into crêpes, vigorously stab strips of bacon atop them, and flambé it all in banana liqueur. It’s a dish that rewards sleepy incompetence: If you don’t flambé it properly, the pancakes immediately soak up copious amounts of hooch, leaving you woozily imitating lines from The Abominable Dr. Phibes while you twirl a villainous moustache and choose your victims for lunch.

Amusingly enough, we’ve got a sinister bottle of banana cordial (inherited from Karen’s mother) right here in the house. It is certainly an appropriate elixir for Price-ian crêpe preparation. I often hear it whispering, whispering very softly, to me as I pass the liquor cabinet.

What’s that? What is it saying?

It wants me to show Karen’s new basset hound the special amontillado in the basement?

Hat tip to Karen L. Myers (Y 1975).

There’s already a trailer out for David Zucker’s anti-Michael Moore comedy satire, opening in theaters October 3rd.

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Hat tip to Dirty Harry’s Place.

Stephen Hayes reports that David Zucker has in production a satirical new film, titled An American Carol, a comedy whose humor comes at the expense of the anti-American Hollywood left.

An American Carol is based loosely–very loosely–on A Christmas Carol by Charles Dickens. …

The holiday in An American Carol is not Christmas and the antagonist is not Ebenezer Scrooge. Instead, the film follows the exploits of a slovenly, anti-American filmmaker named Michael Malone (played by Kevin Farley), who has joined with a left-wing activist group (Moovealong.org) to ban the Fourth of July. Along the way, Malone is visited by the ghosts of three American heroes–George Washington, George S. Patton, and John F. Kennedy–who try to convince him he’s got it all wrong. When terrorists from Afghanistan realize that they need to recruit more operatives to make up for the ever-diminishing supply of suicide bombers, they begin a search for just the right person to help produce a new propaganda video. “This will not be hard to find in Hollywood,” says one. “They all hate America.” When they settle on Malone, who is in need of work after his last film (Die You American Pigs) bombed at the box office, he unwittingly helps them with their plans to launch another attack on American soil.

The entire film is an extended rebuttal to the vacuous antiwar slogan that “War Is Not the Answer.” Zucker’s response, in effect: “It Depends on the Question.” …

Jon Voight plays George Washington. Dennis Hopper makes an appearance as a judge who defends his courthouse by gunning down ACLU lawyers trying to take down the Ten Commandments. James Woods plays Michael Malone’s agent. And Kelsey Grammer plays General George S. Patton, Malone’s guide to American history and the mouthpiece of the film’s writers.

Andrew Bolt, in the Melbourne Herald-Sun, agrees with Andrew Klavan: Batman is George W. Bush.

Ironically, Hollywood has found a way to smash box office records which it is not going to like: well-executed action movies with conservative themes. Pity that John Wayne is gone.

Finally Hollywood makes a film that says President George W Bush was right.

But director Christopher Nolan had to disguise it a little, so journalists wouldn’t freak and the film’s more fashionable stars wouldn’t walk.

So he hides Bush in a cape. He even sticks a mask on him, with pointy ears for some reason.

Sure, when the terrified citizens of Gotham City scream for Bush to come save them, Nolan has them shine a great W in the night sky, but he blurs it so it looks more like a bird.

Or a bat, perhaps.

And he has them call their hero not Mr Bush, of course, or even “Mr President”, but . . . Batman.

And what do you know.

Bush may be one of the most despised presidents in American history, but this movie of his struggle is now smashing all box-office records.

Critics weep, audiences swoon – and suddenly the world sees Bush’s agonising dilemma and sympathises with what it had been taught so long to despise.

Well, “taught” isn’t actually the exact word.

As this superb Batman retelling, The Dark Knight, makes clear, its subject is a weakness that runs instinctively through us – to hate a hero who, in saving us, exposes our fears, prods our weaknesses, calls from us more than we want to give, or can.

And how we resent a hero who must shake our world in order to save it, or brings alive that maxim of George Orwell that so implicates us in our preening piety: “Good people sleep peaceably in their beds at night only because rough men stand ready to do violence on their behalf.”