Bad enough that we’re seeing the return of Rocky Balboa. But Rambo IV? I remain curious: who exactly is Stallone’s core audience these days? Perhaps Hollywood should pay attention to the numbers:
Get Carter (2000). Budget: $40M, Domestic Gross: $14.9M.
Driven (2001). Budget: $72M, Domestic Gross: $32.6M.
D-Tox (2002). Budget: $55M, Opening Weekend: $32,300.
Shade (2003). Budget: $6.8M, Domestic Gross: $25,032.
And those are four of the last five films featuring Stallone in the star role. (The IMDB has scant BO biz on Avenging Angelo.) In other words, it is quite clear that Stallone isn’t a profitable star anymore. Or does Hollywood work on the assumption that Stallone co-hosting The Contender translates into instant revenue down the line? Or do they really believe that audiences will flock to Rocky Balboa at 1990 levels? Of course, since Stallone has kept the budget for Rocky Balboa at $24 million, perhaps this is the secret ingredient to his cinematic return. Unless he’s still huge in Europe.
Magic Hours by Tom Bissell: This marvelous collection of essays chronicles everything from film shoots to novelists rescued from oblivion. (The essay on the Underground Literary Alliance, with its portrait of raucous factions, unexpectedly reveals how soft today's literary world has become.) But if you peer between the cracks of these smart pieces, you may very well see how cultural lives are formed from the most unexpected life choices. And as we follow Bissell's development as a writer over the years, that goes for Bissell as well. (
Angelmaker by Nick Harkaway: Harkaway's latest novel greatly improves on his previous book, The Gone-Away World, which I'm already on record as praising. Angelmaker adopts genre elements without ever feeling like a genre book, and it leads me to believe that Harkaway is well on his way to a narrative grace close to China Miéville's. Yet inexplicably this very fun book, which includes an eightysomething badass named Edie Banister, a mysterious mechanical object that may destroy the world, farcical scenarios involving lawyers and the police, and some unexpectedly moving moments about fatherhood, doesn't appear to be getting much attention in American newspapers. Nothing from the snobs at The New York Times Book Review, nothing from The Washington Post. And since I can't get Harkaway on Bat Segundo, I hope this Jump Up and Down mention gets you hopping as well.
The Age of Insight by Eric Kandel: Unless you're really pressed for time, forget Jonah Lehrer. If you want to understand creativity and its relationship to neuroscience, then the bowtie-wearing Nobel laureate is your man. In addition to being a physically beautiful book (you will drool over many of the paintings), there are helpful overviews on optical illusions, science, biographical backgrounds, and many vital figures from the Vienna Secession. Kandel's enthusiasm (and his call for greater unity between the humanities and science) is contagious.
Actually, Stallone has said in interviews that he has had severe problems getting major roles in films for the past six years. This probably explains why he’s going back to the old reliables — Rocky and Rambo.
This is too bad, because Stallone actually does have some talent (the first few Rockys, the first Rambo, Copland, etc.). But he has made so much crap, that I think people have had enough of him. His career isn’t that different from Chevy Chase or Burt Reynolds.
Don’t knock Stallone. He rocks! YEAH STALLONE! I CAN’T WAIT FOR ROCKY!
ROCKY! ROCKY! ROCKY!
By the way, “Cop Land,” great movie.
Stallone is HUGE overseas!
He has his legions of fans here in the U.S., too.
He’s always had a penchant for returning to his successors – Rocky & Rambo. He’s like THE KING of sequels, ya know? But it works for him & for his fans.
CopLand, Cliffhanger, I even loved Oscar. He’s great at comedy but people are used to seeing him as the adventurous, danger-filled good guy. He’s action-packed in EVERYthing & that’s what he’s known for.
I remain a die-hard female Sly fan – ALWAYS!