The Grinch returns to DVD for Christmas yet again

I have lost count how may times How The Grinch Stole Christmas has been released on DVD so far, but for this Christmas season Warner Home Video has prepared a Deluxe Edition of the film for all fans, celebrating the film’s 50th Anniversary.

“Every Who down in Whoville liked Christmas a lot” the voice of Boris Karloff lets us know as the fun begins when the grumpy, grouchy, Yule-hating Grinch plots to ruin the Who’s Christmas. Can he steal their holiday spirit by stealing their holiday treats? Or does Christmas... perhaps... mean a little bit more?

Offering up a newly re-mastered transfer of the beloved film, the DVD will also contain the New Featurette “Dr. Seuss And The Grinch - From Whoville to Hollywood”, a rapping, rhyming chronicle of the original book and its beloved animated adaptation. Also included are Songs In The Key Of Grinch, featuring interviews with composer Albert Hague and vocalist Thurl Ravenscroft. Next up is Who’s Who In Whoville a biography gallery as well as a Grinch Song

Selection giving you immediated access to all of the movie’s songs.

The DVD will also contain TNT’s “How The Grinch Stole Christmas” featurette with Phil Hartman and Pencil Tests and the story Horton Hears A Who!

“How The Grinch Stole Christmas: Deluxe Edition” is scheduled for release on November 21 with a suggested retail price of $19.98.

ALL EYES ON 'SNL' - AGAIN

What's going on be hind the scenes at "Saturday Night Live" this month may be more dramatic than any thing you'll see on the two prime-time shows starting this fall based on the famed late-night comedy.

Four cast members are about to be fired - they know who they are, but the public doesn't.

Two others - including the undisputed star of "SNL," Tina Fey - are gone.

Auditions are about to begin for the signature spot on the show, anchor of the snarky "Weekend Update."

And because there will be two new shows that use "SNL" as their back drop - Aaron Sorkin's "Studio 60 on the Sunset Strip" and Fey's "30 Rock" - the late-night comedy show will be attracting more attention than it has in years.

Lorne Michaels, the show's boss and guiding personality for nearly 30 years - and the producer of "30 Rock" - has less than six weeks to get it all done.

Crunch time.

"The history of 'SNL' has been that people step up," Michaels told the Post yesterday. "It's just been that way, at least so far. I think there are people there now who are going to be brilliant."

The man who has shared the headwriter's job with Fey for years, Seth Myers, is expected to become the show's sole head writer.

And Fey's second bannana on "Weekend Update," Amy Poehler, is also expected to be back, even as Rachel Dratch leaves to work on "30 Rock" full time.

"It's always hard when you're giving up good people," he says. The show has motored over rough road - most memorably in 1980 and 1995, when the show underwent wholesale cast changes and which, by no coincidence, were the two worst-received seasons ever.

"After about four years . . . there's a staleness that comes over the show," Michaels says.

This will be one of the few seasons that he doesn't bring in at least one new cast member. Knowing that budget cuts were looming for this fall, Michaels last year hired an exceptionally large cast - so that when the ax fell, he would already have a fresh, experienced cast ready to go.

"I think everything that was strong last season is back," he says. Among those are "SNL" vet Darrell Hammond and white-hot newbie Andy Samburg.

"For me, the most important thing is keeping the show on the air," he says.

Zach Braff Talks 'Fletch'

'Scrubs' star can't say he's doing 'Fletch Won,' but it sure sounds like he will

When it comes to The Weinstein Company's upcoming "Fletch Won," Zach Braff is absolutely going to star in it, unless he isn't.

"I don't know," Braff says, pausing from promoting his upcoming film "The Last Kiss." "Bill Lawrence is definitely writing and directing 'Fletch,' and there's a good chance I'll do it. I've just got to talk to Uncle Harvey."

He's referring, of course, to Harvey Weinstein and the "Scrubs" star probably doesn't want to give up any leverage before signing on, except that Weinstein already knows that Braff is invested in the property.

"I was the one who told Harvey he should hire Bill," Braff says of the "Scrubs" creator. "Bill's a huge Fletch fan. The books aren't as wacky and silly as the Chevy Chase movie was, so there was talk for a while of going back to the books and not having that level of comedy in them, and Bill and I both disagreed. That's what made the movie so great. It's one of the most quoted movies ever, especially by guys. Why would you not tap back into what's funny about that? Definitely go back to the books, because the books are brilliant, but we want to still make it a comedy."

The "Garden State" writer-director-star's name first entered the discussion when the long-gestating Kevin Smith/Jason Lee incarnation of the property began to fall apart amidst rumors that Weinstein wasn't ready to let the "My Name Is Earl" thespian play intrepid reporter Irwin Fletcher. The official announcement of Lawrence's involvement only seemed to make Braff's involvement more of a fait accompli.

Braff, who has already completed work on "Fast Track" for The Weinstein Co., continues, "Bill uses the great analogy of 'Beverly Hills Cop.' He's like, 'If you look at 'Beverly Hills Cop,' some people think it's one of the funniest comedies ever, but it's an action movie with great adventure and real stakes,' and he wants to do that with 'Fletch.' The books have real stakes and real action in them, but they also have some of the funniest, witty dialogue ever written."

The plan is to have "Fletch Won" go into production next spring after the conclusion of the "Scrubs" shooting schedule, which would be convenient for both Lawrence and Braff.

"The Last Kiss" opens in theaters everywhere on Friday, Sept. 15.

Beck Draws A Blank For 'Information' Artwork

Beck wants to have a little fun with the artwork for his upcoming album, "The Information," and he wants his fans to contribute. The set, due Oct. 3 via Interscope, will feature blank packaging and one of four sets of sticker sheets designed by artists from the U.S. and Europe, allowing consumers to customize the cover however they wish.

Although details have yet to be announced, a contest is in the works to select the best album cover creation, with final approval coming from Beck himself. Plans also call for displaying the sticker designs at select art galleries.

In addition, "The Information" will include a video for each of its 15 tracks, led by a Michel Gondry-directed clip for "Cell Phone's Dead." A video for the thumping first single "Nausea" that incorporates footage from the Beck-scored skateboarding documentary "1st and Hope" is already making the rounds on YouTube, but it appears a different video will appear on the DVD.

"Nausea" and album track "Strange Apparition" are now streaming on Beck's Web site. The project also features such tracks as the echo-laden, psychedelic "Movie Theme," the bass-heavy, "Midnite Vultures"-esque "1000 BPM," the strummy "No Complaints."

Beck plays the first of two shows with Radiohead tonight (Aug. 22) in Edinburgh. His lone upcoming U.S. show is Sept. 30 at the San Francisco-area edition of the Download Festival, although a fall tour is in the works.

Paramount cuts ties with Cruise company

LOS ANGELES - It's Tom Cruise vs. Sumner Redstone in a case of I quit-you're fired at Hollywood's highest level. On one side is the chairman of Viacom, Inc., which owns Paramount Pictures. On the other is the industry's biggest and most bankable star, whose last seven films have each generated over $100 million.

Redstone said Tuesday that Paramount would sever its long and profitable relationship with Cruise/Wagner Productions, Cruise's company with producing partner Paula Wagner. Redstone told the Wall Street Journal that Cruise's "recent conduct has not been acceptable to Paramount."

But Wagner told The Associated Press that agents for Cruise/Wagner Productions stopped negotiating with Paramount over a week ago and since secured independent financing, effectively taking any contract-renewal deal off the table.

"For some reason, Paramount has chosen to negotiate in the press," Wagner said, calling Redstone's announcement "surprising."

"It's not really the most businesslike approach," she said. "We've had virtually no dealings with Mr. Redstone."

Paramount referred all calls on the matter to Viacom. Viacom spokesman Carl Folta had no comment late Tuesday.

"As much as we like him personally," Redstone is quoted as saying, "we thought it was wrong to renew his deal." He then cited Cruise's "recent conduct" as the reason.

In the past year or so, Cruise couch-hopped on Oprah Winfrey's talk show while proclaiming his love for Katie Holmes, criticized the use of antidepressants and claimed that postpartum depression doesn't exist. He also got into an angry exchange with Matt Lauer on the "Today" show while defending his opinions.

Cruise/Wagner Productions has been based on the Paramount lot since 1992.

"We viewed ourselves as partners with Paramount," Wagner said, adding that the collaboration has produced $2.5 billion worth of business.

With "War of the Worlds" and "Mission: Impossible 3," Cruise helped earn nearly $1 billion for Paramount this year alone, Wagner said. Cruise/Wagner Productions brought "M:I3" director J.J. Abrams to the studio, she said, which recently inked a five-year arrangement with Abrams.

She and Cruise had been considering independent financing for their company "for a long time," she said.

"For us, this is a very new and exciting direction. We look forward to working with all the studios."

'South Park' guys plan two films

A high school comedy and giant monster pic are on tap

Subversive animation kings Trey Parker and Matt Stone have a pair of live-action films in development at Paramount.

According to Variety, the "South Park" creators are producing two comedies through their re-named Important Pictures shingle. Up first will be "My All-America," followed by the more excitingly titled "Giant Monsters Attack Japan!"

"My All-American" was written by Jeff Roda, while J.F. Lawton penned "Giant Monsters Attack Japan!" Details about both comedies are scarce, but the industry paper says that Parker will be the credited director on each film, while Stone will produce.

Both films will feature real actors -- a first for the "South Park" guys since "Orgazmo" and "Cannibal: The Musical!" -- though "Giant Monsters" will also feature thespians in big rubber suits.

The plan is to begin shooting on "All-American" next year when Parker and Stone go on "South Park" hiatus.

Since "South Park" launched, Parker and Stone have limited their creative cinematic output to "South Park: Bigger, Longer & Uncut" and "Team America: World Police." They also acted together in "BASEketball."

"Snakes" Down the Drain?

Apparently moviegoers had enough of the mother-bleepin' hype about the mother-bleepin' snakes on that mother-bleepin' plane.

Despite a year of blog-fueled fanatacism that spilled over into the mainstream media in recent weeks, Snakes on a Plane didn't exactly sink its fangs into the box office, slithering in with a less than expected $15.2 million, according to final studio figures Monday.

While that was enough to top the weekend ticket sales, the $15.2 million tallied by the New Line release includes late-night Thursday business of $1.4 million added to the tradition Friday-Sunday grosses.

The point wasn't lost on Sony, which initially called foul and proclaimed that its hit comedy Talladega Nights: The Ballad of Ricky Bobby was really number one with $14.1 million in estimated ticket sales from Friday to Sunday. (You do the math.) But when the official numbers were released Monday afternoon, Talladega was adjusted to $13.8 million and would have finished in second even without Snakes' Thursday take.

David Tuckerman, New Line's head of distribution, justified the fudged numbers, telling the Associated Press that "it's an industry standard" to roll Thursday sneak-peek screenings into the Friday-Sunday tally.

"With this kind of picture, I would tell you unequivocally that at least 90 percent of that business would have gone to see it Friday if not Thursday." And that would seem to suggest that Snakes may not have, um, any legs, since the film only grossed $6.3 million on Thursday and Friday combined. Overall, Snakes came in about $5 million-$10 million behind most analysts' predictions.

"It doesn't create any sort of mandate for Internet promotion," said Paul Dergarabedian, president of box-office tracker Exhibitor Relations, noting that all the Web hype for Snakes on a Plane didn't translate into ticket-buying.

"There was much more excitement in the buzz, blogging and marketing about the movie than in the movie itself." New Line tried to tap into the vibe, spoon-feeding scoops to Snakes sites, retooling the movie to incorporate fan suggestions and declining to screen the film to potentially buzz-killing movie critics.

However, he did note than generating such "organic" buzz didn't cost the studio much and that with just a $30 million budget, the "B horror movie" was on track to turn a tidy profit.

Starring Samuel L. Jackson and a bunch of killer reptiles, Snakes averaged just $4,277 at 3,555 locations. That wasn't anywhere near the top average among the Top 10 films, which belonged to Fox Searchlight burgeoning summer dark horse hit Little Miss Sunshine. The road-trip comedy about a wacky family averaged $8,120 per 691 screens, in its fourth week of slowly expanded release. All told, Little Miss Sunshine moved up from 12th to seventh place, earning $5.6 million to bring its current gross to $12.7 million.

Meantime, Will Ferrell's Talladega Nights refuses to head to the pits, dropping just 38 percent in it third week with a per-site average of $3,677 at 3,741 locations to bring its three-week winnings to $114.3 million.

Oliver Stone's World Trade Center also held up, with just a 42 percent drop in its second week. The Paramount release earned $10.9 million in third place, averaging $3,636 at 2,998 locations, for a 10-day total of $45.1 million.

The weekend's other two new releases failed to make a major impact. Universal's college comedy Accepted found modest acceptance in fifth place with $10 million (averaging $3,440 at 2,914 theaters), while MGM's Material Girls, starring Hilary and Haylie Duff, didn't have much stuff, opening way down in ninth place with $4.6 million (averaging $3,050 at 1,509 sites).

In limited release, The Illusionist, a historical mystery starring Edward Norton, Jessica Biel, Paul Giamatti and Rufus Sewell, conjured up a magical debut. The PG-13 Yari Film Group release averaged $18,135 at 51 locations for $927,956.

At 36 locations, Fox Searchlight's R-rated Trust the Man, a relationship tangle directed by Bart Freundlich, starring his wife, Julianne Moore, along with Billy Crudup, David Duchovny and Maggie Gyllenhaal, averaged $4,744 for $180,271.

Led by Snakes underwhelming opening, overall business was down after four straight up weekends. The top 12 movies grossed a combined $91.4 million, 16 percent less than last weekend and 7 percent lower than this time last year, when Steve Carell's comedy The 40-Year-Old Virgin started to score.

Here's a rundown of the top-grossing films as compiled by Exhibitor Relations from studio estimates; final figures are due Monday:

1. Snakes on a Plane, $15.2 million
2. Talladega Night: The Ballad of Ricky Bobby, $13.8 million
3. World Trade Center, $10.9 million
4. Step Up, $10.2 million
5. Accepted, $10 million
6. Barnyard, $7.6 million
7. Little Miss Sunshine, $5.6 million
8. Pirates of the Caribbean: Dead Man's Chest, $5.2 million
9. Material Girls, $4.6 million
10. Pulse, $3.5 million

Summer box office expectations calming Hollywood

LOS ANGELES (Reuters) - When Hollywood's summer ends in two weeks, domestic box-office receipts are expected to be up 7 percent over 2005, calming the nerves of studio bosses who last year worried moviegoers may be disappearing.

Ticket sales in the United States and Canada, led by the No. 1 hit "Pirates of the Caribbean: Dead Man's Chest," are expected to reach nearly $3.9 billion for the studios' peak season lasting 18 weeks from early May and through the end of August, according to tracker Exhibitor Relations Co Inc.

Ticket revenues for 2005's summer were $3.6 billion, which was down 8.5 percent from summer 2004's record $3.95 billion, making it the worst box-office showing in four years.

Attendance, the number of people buying tickets, for summer 2006 is estimated at just over 582 million, up nearly four percent from last year's 564 million, which was off a whopping 11 percent from the previous year.

Last year's lower numbers caused studio bosses to grow concerned that competition from video games, the Internet and DVDs, as well as unexciting movies lessened fan appetite. That was a huge issue because summer films aimed at youths make up as much as 40 percent of annual domestic ticket sales.

"It begins with the creative movie itself. I think that is what the difference was for us, and I think for the industry, too," said Mark Zoradi, president of Walt Disney Motion Pictures Group. "The industry made movies that made people want to get out of their houses and spend their hard-earned dollars to go to the theater."

Exhibitor Relations President Paul Dergarabedian echoed that sentiment. "This summer proves that people still want to go to the movies," he said.

WINNERS, LOSERS & CRITICS

Disney and "Pirates" were big winners at the box office. "Pirates," an effects-filled comedy starring Johnny Depp as pirate Captain Jack Sparrow, has raked in over $400 million domestically.

Disney also scored with Pixar's animated "Cars," which took in $240 million to become the No. 2 movie domestically and with recent dance film "Step Up" -- $40 million and climbing.

Twentieth Century Fox will finish at No. 3 with "X-Men: The Last Stand" ($234 million) and the season's biggest surprise, "The Devil Wears Prada" -- now at No. 9 with $118 million.

Sony Pictures also had a solid season with No. 4 film, "The Da Vinci Code" ($217 million) and No. 7, Adam Sandler comedy "Click." ($135 million).

By most accounts, Warner Bros. was the key loser with expensive bombs "Poseidon," "Lady in the Water" and animated "The Ant Bully." Offsetting those was No. 5 "Superman Returns" with $194 million and still playing.

But "Superman" points to one long-time fact of summer moviegoing that was reinforced this season: there is a disconnect between critics and fans.

Reviewers mostly liked "Superman," but its box office failed to meet expectations that ran up to $250 million. The same thing happened to No. 8 "Mission: Impossible III," which was seen as a $200 million movie but ended with $133 million.

Conversely, reviewers panned "Da Vinci Code," and it defied them with ticket sales that met or topped many forecasts.