I loved Andrew Breitbart.

Ironically, it took an Andrew Breitbart to give me the courage to say publicly that I could love an Andrew Breitbart.

Andrew had the back of those who worried about a backlash to their livelihood. He was the bodyguard, the kid who stood up to the bullies. He was the bouncer you couldn’t elbow out of the doorway.

His best friend was his childhood pal and business partner, Larry. For many of us, though, Andrew was our best friend. If we didn’t have a brother, he filled that void. If we needed a mentor, he fit the bill. If we desired a third child, there was Andrew. For all of his incredible energy and gifts, it was, at times, like caring for a wild-eyed teenager with no sense of time and space. We didn’t mind taking him in, in fact, we arm-wrestled for the chance.

Many of us, including Andrew, live and lived for our nation’s military. I’ve often asked young American soldiers how they deal with the death of a buddy in combat. How do you keep going, do your job, continue to live and push forward? The answers are all profound and different. I will never have the courage of our nation’s bravest, but for the first time in my life, I have a sense of that empty foxhole. That notion, that though the fight is right, a chunk of me is gone — never to be filled.

There are great stories floating around about Andrew, and I have them too. I’m just too sad to lay them out.

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Right-leaning documentaries rarely get the chance to go head to head with their liberal-minded competition.

When was the last time a conservative documentary ended up battling it out for the Best Documentary Oscar?

So it’s fascinating to watch the crowdsourcing battle royale between “FrackNation,” a film by Big Hollywood contributors Phelim McAleer and Ann McElninney which argues against the Obama administration’s stance on hydraulic fracking, and “Troy Davis Lives,” a documentary about the execution of a Georgia man convicted of killing a police officer.

To say the former is beating the latter is an understatement. If this were a boxing match they would have stopped the fight days ago.

…after 57 days five people have offered a total of $106 for the making of Troy Davis Lives. In a countdown reminiscent of the one that took place before Davis’s execution, Kickstarter is now featuring how many hours (currently 63) are left.

By contrast, after 15 days soliciting cash, a total of … 1,282 people have pledged $90,715 for FrackNation, an average of just over $70 per donor and well over half of the $150,000 target.

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Today, the editorial board of the Washington Post took a stand against Conservative radio host Rush Limbaugh, claiming that the GOP must distance itself from the popular radio talker.

IN A DEMOCRACY, standards of civil discourse are as important as they are indefinable. Yet wherever one draws the line, Rush Limbaugh’s vile rants against Georgetown University law student Sandra Fluke crossed it.

His way of showing this anger was to smear Ms. Fluke, who approached Congress to support the plan, as a “slut” seeking a government subsidy for her promiscuity. Like other “shock jocks,” Mr. Limbaugh has committed verbal excesses in the past. But in its wanton vulgarity and cruelty, this episode stands out. Mr. Limbaugh’s audience, and those in politics who seek his favor as a means of reaching that audience, need to take special note.

What we are saying is that Mr. Limbaugh has abused his unique position within the conservative media to smear and vilify a citizen engaged in the exercise of her First Amendment rights, and in the process he debased a national political discourse that needs no further debasing. This is not the way a decent citizen behaves, much less a citizen who wields significant de facto power in a major political party. While Republican leaders owe no apology for Mr. Limbaugh’s comments, they do have a responsibility to repudiate them — and him.

On February 24, news broke that television show host Bill Maher pledged one-million dollars in support of the re-election of Barack Obama. While noting that the pledge makes Maher one of Obama’s largest dollar supporters, the story also notes Maher’s “disdain” for Republican politicians.

Bill Maher Pledges $1 Million to Obama-Backing Super PAC

The donation makes Maher one of the largest single donors to the Priorities USA Action PAC, behind Dreamworks CEO Jeffrey Katzenberg, who contributed $2.1 million, ABC News reported. The PAC raised $4.1 million in 2011.

It’s no surprise that he pledged money to Obama’s reelection cause. The HBO host has never hidden his agenda or concealed his disdain for the current GOP frontrunners. (Maher signed his $1 million dollar check with the words “kicking ass.”)

It’s both well known and extremely well documented that, in the not so distant past, Maher’s disdain has manifested itself in his name calling directed at former Alaska Governor and 2008 Republican Vice Presidential nominee, Sarah Palin.

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Screenwriters Cinco Paul and Ken Daurio say the films they watched as children weren’t always soft and cuddly in nature.

They wouldn’t have it any other way then – or now.

“We coddle kids,” Daurio tells Big Hollywood. “When you step back and look at entertainment geared for kids, so much of it is watered down … kids can handle more than you think they can.”

That thinking influenced Paul and Daurio as they prepared the screenplay for the new animated feature “Dr. Seuss’ The Lorax.”

The film, based on the beloved author’s 1971 environmental tome, tells of what happens when a young entrepreneur ignores a fantastical creature out to protect the environment. What emerges is a world without the cotton candy Truffula trees born from Dr. Seuss’ vibrant imagination.

“There is a melancholy tone to a lot of the book. It’s looking back at the world as it was and as it is after the Once-ler ruined everything,” Paul says. “That’s a huge part of what makes the book work. But we also wanted to be true to the note of hope in the book.”

“Dr. Seuss wasn’t afraid to talk to kids like they could handle that,” Daurio adds. “We keep that spirit alive. We’re not making a movie just for kids. It’s something we want to see.”

And keeping the author’s pro-environmental message alive meant risking the alienation of some adult audience members not interested in a candy colored sermon.

The filmmakers were willing to take that chance.

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“Tyler Perry’s Good Deeds” arrived in theaters last Friday but like many of Perry’s previous projects was not screened in advance for critics.

Perry wrote, directed and stars in this film about a successful man named Deeds who eventually becomes good. Hence, the unsubtle, off-putting title. Like many of Perry’s previous films, the story’s message are so obvious they undercut the film’s potential.

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The film begins with Wesley Deeds (Perry) leading an ordinary, forgettable life. His fiancé even mocks him for his lack of surprises. In what is a Hollywood cliché that should be extinct, she states what he’s going to say before he says it. In other words, he’s as predictable as the plot of a Tyler Perry movie.

After a single mother named Lindsey (Thandie Newton) parks in his spot, Deeds becomes noticeably upset. But when he discovers that she left her young daughter in the car while she went to an appointment, he becomes more interested in the woman’s plight. Getting to know Lindsey convinces him to change his ways, in part, to improve her life as well.

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“Project X,” the new comedy from the producer of “The Hangover,” is a difficult film to review. Its emphasis on crude humor and outrageous potty jokes can be offensive at times. And for anyone over 35, I would never recommend this film.

Its appeal – as it is – will likely interest college students and people in their twenties looking for a fun, carefree time at the theater. And as someone within that small demographic, I enjoyed “Project X” for what it is:  a politically-incorrect, outrageous movie about a group of high school geeks attempting to host a massive house party.

“He’s not exactly Mr. Popular,” one of the geek’s fathers states early in the film about his son. That, in a way, sums up the character’s motivations. This is a story about three male friends hosting a birthday party so that they can finally become popular.

The party is for Thomas ( Thomas Mann) but unfortunately for the birthday boy, it’s going to be hosted at Thomas’ own home. (Of course, a better birthday present from one of the friends would have been them hosting it elsewhere.)  Thomas’ friends are the obnoxious Costa (Oliver Cooper) and the dorky JB (Jonathan Daniel Brown). Costa, it should be noted, is the type of friend who you enjoy spending five minutes a day with. Beyond that, he’s the guy you would cross the street to avoid.

Costa is “Ferris Bueller” if you take away the charm, smarts and charisma. And if you made him a complete jerk.

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Wanted to share my admiration of Mr. Andrew Breitbart. A incredible man who will be dearly missed.

Commentators here gave “Act Of Valor” high praise last week, and it did take the top weekend box office spot. Very refreshing to see a film surprise so many in Hollywood with positive success.

Turns out Sensei’s prediction of $22 million for “Valor” turned out to be closer than many thought. Amazing considering how most in Hollywood had the film opening to only mid-teens. Many commentators last week also deserve credit for predicting the film to go past that.

This weekend, the environmentally conscious new film “The Lorax” looks to stop the hard-partying “Project X.”  This weekend’’s predictions and revenue results go as follows:

1. Dr. Seuss’ The Lorax ($42 Million) – Film has great timing with family audiences, who so far have only have had “Journey 2″ to run with. Tough to bet against Dr. Seuss, especially with such charming marketing. Add another hit to Illumination Entertainment’s resume (“Despicable Me”).

2. Project X ($16 Million) – Where “Lorax” is charming, “X” looks to be just as sleazy and hyped. Despite being produced by Todd Phillips, who directed “The Hangover,” the pedigree involved will still only pull enough interest for a slightly higher “Hall Pass”-like opening.

3. Act Of Valor ($13 Million) – Will add to its already impressive opening last week. Film was produced on a $12 million budget. Could this film start a new trend in Hollywood profitability?

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In 2004, when it was brought to San Diego, there was a dedication for the USS Ronald Reagan — how appropriate that on the deck of that magnificent carrier is where Andrew and I first met and became fast friends. He came up to me and was thrilled that I was there — thrilled and grateful that I was an outspoken conservative in Hollywood — and understood the difficulty I faced. As he said to many, he appreciated the courage it took to go against the tide of the liberal establishment. I will always remember it was the first time I felt someone, beside David Horowitz, understood the cost it took to express one’s values openly for fear of a modern day blacklisting. Yes, it does exist in this town.

We became close friends, and I would spend many nights or afternoons together with Andrew discussing his ideas and the BIGS he wanted to launch. He wanted a place where those of us who may be attacked by the left for our differing points of view would now have an umbrella of protection — a place to express, a place to inform, a place where a network of people would cover our backs. He said to me many times, ” I’ve got your back!” When we were on panels together, he would always acknowledge the sacrifice in career I made and, with “Righteous Indignation,” said how heroic a deed it is for any of us in Hollywood who have a different point of view.

One afternoon at my house during the Super Bowl, when our kids were playing together and in between mouthfuls of eggplant parmigian, Andrew spoke in depth about the BIGS. He spoke like a force of nature, his ideas and passion lifting him off the couch — he reminded me of the great man of theater, Harold Clurman, who would spasm and seem to ignite the air around him with the force of his intellect and passion. The only difference was with Andrew, the theater was the world stage and the survival of democracy and America, its Dream and unending mission. You saw that he sensed was on the front lines — the minuteman of the 21st century.

Yes, dear friends, Andrew was a force of nature — a Navy SEAL in journalism who would dive deep into periled waters to uncover the truth and remove the minefields of lies and misinformation. He was tireless, unflinching — always feeling a bit guilty he wasn’t giving Susie and the kids enough time but giving all he could when he could. He was always a giver; he gave his heart — and gladly. He loved what he was doing and gave his life doing it. (more…)

HBO is “manipulating history” to “create a false narrative and attract viewers,” said SarahPAC treasurer Tim Crawford in a statement. He’s right, of course, as the 2 minute, 38 second video released by SarahPAC in a statement above. “Game Change” is “fact change,” but it’s worse than that.

It assumes that the facts were there at the beginning. How can you change facts that were simply invented? “Game Change” is a work of “fiction,” but fiction at least tries to get to a truth of the human condition.

YouTube

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As David Zurawik of The Baltimore Sun writes, “Game Change,” “pushes the limits of docudrama.” “As the producers deftly blend actual news footage and dramatic recreations, “Game Change” vaporizes the lines of fact and fiction as you watch,” Zurawik writes. He also points out that neither screenwriter Danny Strong nor director Jay Roach ever talked with Palin before the film was written, shot, directed and distributed. In other words, they never even bothered to get it right.

It’s treasurer Crawford’s second order – that HBO label the film a work of fiction – that might prove a tall one for the media outfit in its in-kind contribution to the Barack Obama re-election outfit. We’ve come to expect this kind of work from Roach, who, after all, directed the fabulist “Recount,” which Slant Magazine called, “a screechy example of liberal Hollywood condescension.” Troy Patterson of Slate said “Recount” “grovels for the approval of political junkies while flaunting the shallowest of interest in politics, and everything flow from there in the most silly fashion.”

But when it comes to re-writes of American history of which “Recount” and “Game Change” are now famous, there’s nothing silly about the methodical and pathological dishonesty present on the silver screen. “Game Change” tries to make McCain political consultant Steve Schmidt the hero, but as everyone knows he failed overwhelmingly to get his candidate elected president. How heroic can you be if you are a failure? The man gave us Gov. Arnold Schwarzenegger for another term, for goodness sake.

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Andrew Breitbart was the shoulder to cry on, the coach who inspired, the leader who was fearless. Just knowing that Andrew was out there, fighting the fight for the rest of us, gave us all the strength to hold our ground when we faced hostility. Andrew took all comers, never backing down, retweeting the worst of the worst comments from his Twitter feed with a big smile.

He did everything with such aplomb, with such joie de vivre, with such a jolly chutzpah that can only come from someone who is both Jewish and Irish! Somehow he was able to be everywhere all at once, instantly responding to texts and e-mails, always ready to right a wrong, to stand up and fight for you.

Anyone who cared to look could see that Andrew was a thoughtful, well-read, deeply informed person who welcomed all, treated everyone the same, and gave everyone a shot. He was most happy when he could engage in a serious exchange with his opponents, and only became the animated provocateur when he encountered mindless bigotry and hatred. Then he gave as good as he got. (more…)

“Act of Valor” is the antithesis of “Avatar,” a film I reviewed at Big Hollywood two years ago.

“Avatar” was a sci-fi film in every way to include portraying our military as crazed killers who become mercenaries in order to destroy a civilization so that corporations can capitalize on a rare commodity prized by earthlings. Of course, director James Cameron will deny any similarity to our military. His disclaimer would read, “This is a work of fiction. The names, characters, places and incidents are fictitious. Any resemblance to actual events, persons, living or dead is entirely coincidental.”

It is the innuendo in “Avatar” that disses our soldiers. If you saw the film you surely did not walk away without comparing the soldiers in that movie to our military. It is well known that the majority of those in the “business” of Hollywood filmmaking are left leaning, anti-war, anti-Tea Party, anti-gun, anti-Bush, etc., and if you are not on their side you don’t work.

I have been on a few movie sets and around some well known Hollywood actors, and I know first hand that your politics can get you black listed. There are exceptions, though; those few right wing actors already on the “A” list still get work. But if you are a “B” list actor and have right wing political views it’s pragmatic to keep them to yourself.

If Cameron didn’t want the audience to relate his direction of the mercenaries in “Avatar” to our military he should have used soldiers from Balmorra, a planet from “Star Wars” torn apart by war.

Unlike “Avatar,” “Act of Valor” portrays our military as the professional, highly trained, highly skilled, soldiers that they are. There is no Hollywood hype when you see them take out the enemy with head shots. It is probably the closest anyone will get to experience actual combat without being there. Be sure to see it.

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Conservatives can’t fly the “sucker punch” flag over “Dr. Seuss’ The Lorax.”

The new animated film is based on the eco-friendly 1971 tome from the children’s book author, a fable about an irascible creature who “speaks for the trees.”

In Dr. Seuss’s capable hands, “The Lorax” spun a tale cushioned by his sense of restraint and verbal dexterity.

In Hollywood’s clumsier mitts, “The Lorax’s” message machine all but shouts its disdain for capitalism – just disregard those 3D glasses meant to squeeze every last nickel out of movie goers. Yet “The Lorax” charms all the same thanks to bold choices in the voice cast and a complicated story told with a deftness that defies the messages in play.

Young Ted (Zac Efron) wants to win the heart of the beguiling Audrey (Taylor Swift), a local girl with sun-kissed blonde locks. When he learns she’d do just about anything to see a real, live tree he decides to find a way – any way – to get her one.

If only it were that simple.

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Last week Big Hollywood ran the first in a three-part series titled, ‘Game Change:’ Meet the Lefties Who Turned HBO Into a Pro-Obama SuperPAC,’ and evidenced the ultra-left leanings of some of the top actors, producers and directors in the upcoming Sarah Palin portrayal. We exposed the political slants and campaign contributions of major players such as Tom Hanks, Julianne Moore, Ed Harris and Woody Harrelson.

This week, Big Hollywood has done an in-depth analysis of all campaign contributions of the top 10 HBO executives, and guess what? With exception of a few contributions to the TIME/Warner PAC, which are encouraged by the company – the benefit the company – every single contribution was Democratic. Big Hollywood couldn’t find a single Republican contribution. Is it really a surprise the network was out to try and take down one of the GOP’s most charismatic leaders?

Check it out:

Bill Nelson, Chairman and CEO: Contributed $1,000 to Democratic Sen. Chuck Schumer in 2004 and a total of $11,500 to the TIME/Warner PAC between 2001-2005, which according to their site “makes bipartisan contributions to political candidates and committees in support of the Company’s public policy goals. In making contributions to candidates, the TWI PAC considers, among other factors, the candidate’s committee assignments and record of public positions on issues of importance to the Company. To provide funding for the TWI PAC, the Company periodically solicits voluntary contributions from eligible employees, excluding the Company’s journalists.” Here’s the list of all 2010 Time/Warner PAC donations:

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It’s pretty rare that a motion picture inspires ordinary Americans to thank the men and women in the U.S. Armed Services.

Then again, “Act of Valor” isn’t like any other war film.

“Valor,” which raked in $24.5 million over the weekend, cast active-duty Navy SEALs in an action film that pays tribute to the sacrifices made by these elite fighting forces.

Part of the movie’s marketing campaign involves everyday citizens sending in their video salutes to these soldiers. That, plus the positive word of mouth currently building around the film, means “Valor” should enjoy another hearty box office tally this weekend.

The USA Network’s longest-running current original series is back. Season six of the crime mystery/comedy “Psych” returns tonight at 10 p.m. EST after a two month mid-season break. And I’m here to recruit a few more Psychos.

“Psych” is not your average detective series. As a child, Shawn Spencer (James Roday) developed incredible observational and deduction skills and instincts that were honed with the help of his Santa Barbara police officer father, Henry (Corbin Bernsen). Most episodes begin with a flashback to Shawn’s childhood, showing Henry testing his skills or imparting some wisdom which will come into play later.

After years of Shawn calling in helpful crime tips to the Santa Barbara police, Head Detective Carlton Lassiter (Timothy Omundson) becomes suspicious of Shawn’s knowledge of those crimes. Lassiter suspects such accurate information can only come from someone involved in
perpetrating the crimes.

In order to avoid being sent to jail himself, Shawn decides to try to convince Police Chief Karen Vick (Kirsten Nelson) that his knowledge comes not from being a criminal but from his amazing, yet fake, psychic abilities. Chief Vick, impressed but unsure, agrees to hire Shawn as a psychic consultant after helping solve a murder.

With the help of lifelong friend Burton “Gus” Guster (Dulé Hill), Shawn opens the Psych detective agency. Their main client is the Santa Barbara Police Department, where they assist Detective Lassiter and his partner Juliet O’Hara (Maggie Lawson) in solving murders. Lassiter
remains suspicious of Shawn’s abilities, Chief Vick is indifferent since it helps solve crimes and O’Hara is a believer.

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This week on the HomeVideodrome podcast, Hunter and Jim talk about the results of the Oscars as well as run-down this week’s releases.  Head on over to The Film Thugs to give it a listen.

George Lucas’ “American Graffiti” set the standard for the nostalgic meaningful night-of-youth movie, and David Robert Mitchell’s “Myth of the American Sleepover” comes from the modern indie side of this tradition Lucas set before he disappeared into the abyss of a galaxy far, far away. Being a film populated by confused, hormonal teenagers, “Sleepover” hits on themes you’d expect it to, but does so in a way that invites adjectives like “understated,” “poignant” and other words critics apply to “little independent movies,” also known as “gems.”

Over the course of an evening, a plethora of parties and sleepovers invite four different Detroit kids on a nocturnal journey, navigating the fickle waters of teen crushes and relationships. A boy becomes smitten with a girl who passes by him in a grocery store and sets out in a desperate attempt to connect with her, fearing she’ll disappear once the school year begins. A girl discovers her boyfriend is the secret object of another friend’s affection, prompting impulsive and potentially hurtful emotional games at a party. Another girl crushes over a boy, but her attentions wax and wane as she and her best friend aimlessly travel from party to party.

The strangest plot thread involves a young man who comes home from college off the heels of a break-up and is reminded of a happy moment shared with a pair of twins during a high school play. He later sets out to find them at a nearby college campus without any substantial idea of as to why.

If this sounds like a meandering description, that’s because it is.

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Before we get to HBO’s latest lame defense, here’s what the network (and Politico) won’t tell you…

Below are the names of eight people who have gone on the record to declare the book “Game Change” a falsehood, and what they’ve seen of the film (HBO refuses to screen it for them — but never mentions that in the statement) is just as false:

1. Governor Palin, who detailed life on the campaign trail in her autobiography “Going Rogue.” (In an obvious attempt at a publicity stunt, HBO did offer to screen the film for the Governor but, for some creepy reason, only at her home.)

2. Meg Stapleton, the Governor’s former spokeswoman.

3. Jason Recher, who handled vice presidential road operations for the McCain-Palin campaign and was with the governor during nearly every waking moment of the campaign.

4. Tim Crawford, Treasurer of Governor Palin’s PAC.

5. Randy Scheunemann, foreign policy adviser who advised Palin during the ‘08 campaign and who vigorously disputes the book and film’s portrayal of her as anything other than engaged and informed on foreign policy matters.

6. Thomas Van Flein, the Governor’s former lawyer, who was in almost daily contact with Palin during the ‘08 campaign.

7 and  8. Aides Doug McMarlin and Andy Davis.

That’s EIGHT people declaring on the record that it’s all a load of bull.

Here’s all HBO has:

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Indiana Jones fans didn’t exactly embrace “Kingdom of the Crystal Skull,” the fourth chapter in the celebrated film saga. But Indiana Jones Nation will likely put aside any lingering sour feelings for “Skull” when they see the entire film series in the stunning Blu-ray format.

The globe-trotting, whip-wielding adventurer will be seen in the High Definition format later this year.

“The Complete Indiana Jones Blu-ray Collection” will feature all four films plus a “best of” collection of documentaries, interviews, featurettes plus new material exclusive to the new set.

“Indiana Jones” producer George Lucas is allegedly working on a fifth installment, but given star Harrison Ford’s age (69) and the number of years between the third and fourth installments (19) there’s a good chance this package will represent our final look at Ford’s iconic character.