You were supposed to see The Brothers Bloom saddled over the 2008/2009 border, with a limited run in late December over the holidays and a full run in theaters come January 2009. Then, the movie kept getting pushed back until now it’s a fun con man film that is forced to compete in a field full of blockbusters. If The Brothers Bloom opened alongside Oscar-baiting fare instead of explosions ad giant robots, the film would find the audience it deserves and surprise the up-their-own-a**es pretentious film goers with a smart romantic comedy. As it is now, it’s going to surprise f*ck-it-all summer film attendees with charming characters and a winding con man plot.

Either way, there is good reason to see Brothers Bloom, mainly because it’s good.

My mom is a big fan of summer movies to this day. The only problem this year was that she gathered a group of female friends to go see what looked to be the first big special effects film of the year. My mom enjoys movies where things explode or films with a light-hearted plot. I’m guessing that raising me helped develop her taste for escapism. Regardless, her friends are of similar ilk, which it why Mom messed up her film-reputation by taking a whole bunch of housewives to The Watchmen.

Just to cover my own butt here, if Mom had asked me about Watchmen, I would have told her to wait until it came out on Netflix. It just wasn’t her type of film. Now, people are hesitant to go see Wolverine with her, because they’re afraid they will get blasted in the face with more attempted rape and blue penises.

Mom: Take your lady friends to Brothers Bloom. It might be the one film this year that a group of Midwestern housewives and I might both enjoy. It’s like The Sting peppered with Oceans 11 and with the Rachel Weiz role you like.

As for the rest of you, I suppose I have some ’splaining to do…

I’ve said it before, and I’ll say it again: we’re still in a period of big studio movie making where betting tens to hundreds of millions of dollars on a wholly original concept without a built in audience is just not worth the risk involved.

In a MPAA-issued Summer Movie newsletter [PDF] released in 2006, the following facts are given about the basic finances of major motion pictures, and remember, these are pre-recession dollars:

- The major motion picture studios invest an average of $96.2 million to make and market a movie.

- On average, studios spend $60 million for production fees, employee salaries, capitalized interest and overhead.

- Marketing, on average, costs $36.2 million per movie. That includes $3.8 million for film copies and $32.36 million for advertising in newspapers and magazines and on TV and the Internet.

- Only one out of every 10 films recovers its investment from domestic showings.

- Six out of 10 movies never recoup the original investment.

Already, just making a summer blockbuster is a risky investment, so the greater commercial Hollywood has entered a decade where each summer is punctuated by huge movies that are sequels, prequels or reboots of franchises that have a built in audience or schlock marketed as something familiar, even if it’s not.

Take, for instance, Ghosts of Girlfriends Past, which I’ve heard good things about, but didn’t see because I knew it was A Christmas Carol meets My Best Friend’s Wedding. However, the more I hear about the performances in this movie and how well the premise was handled, I’m starting to understand that the promotional material I ended up seeing for the Matthew McConaughey flick was designed so I could recognize the premise and take my girlfriend to it, feeling comfortable.

The jokes on them, or me, for getting dumped awhile ago.

Point being, the millions of dollars spent on marketing a film is often spent making you think that you’ve seen something like the film before, or explaining to outsiders of the established franchise why this installment was made more for them. Marketers want you to settle into a theater, after buying your refreshment, feeling comfortable about what you’re going to see.

Take JJ Abrams’ Star Trek this weekend: a new action-adventure installment of a franchise that has had problems drawing in non-Trekkers, women and international audiences. For the franchise to survive, and to recoup the studio’s investment, you have to bring in the audiences who previously thought they wouldn’t see a Star Trek movie.

How do you do it? Cast younger actors and glitz it up with more action and explosions.

Even then, there’s no point in making a Star Trek movie if the Star Trek fans don’t show up. Here lies the dilemma where most films would just rely on marketing. Star Trek fans are gonna show up for something with the characters they know and non-stop, cross-platform marketing will bring in the newbies who want to see something different. The catch is that the die-hard franchise fans have certain things they want honored and that’s at odds with the casual movie-goer.

Example: Fans of Wolverine would have preferred (among a lot of other things) if Weapon XI wasn’t Deadpool, but the movie is so chock full of other mutants to try and please the fans that introducing another non-character mutant might have confused the franchise newbies who were just there to see Hugh Jackman and shirtless, white-painted Ryan Reynolds.

It looks like Hollywood is going to try and bring in both audiences under the same banner this summer using a theme that is one of my favorite as a geek: Time Travel.

This weekend’s Star Trek takes us back in time and establishes Leonard Nemoy as “Spock Prime” in this alternate timeline where the same people exist, but events are different. In an interview with Mr. Beaks from AICN, screenwriters Roberto Orci And Alex Kurtzman discuss how alternate timelines can be liberating in this type of film:

Beaks: You guys aren’t going to give me a real answer on this, but I’m going to ask anyway. Have you considered working Khan into a subsequent film?

Kurtzman: Who?

Orci: The honest answer is if you’re a TREK fan, there’s no way Khan isn’t at the top of the list of things you want to play with, right?

Beaks: Right.

Orci: It’ll just be whether or not it’s the right thing to do.

Beaks: That’s another iconic character with a very distinctive voice. How would you write Khan if you were to take that character on?

Kurtzman: The whole reason we came to this idea of an alternative time line was so that everyone could feel that canon was being respected while giving us freedom to have the future be unwritten. I think that leaves you as much or as little room for interpretation as you’d like in terms of some of the key characters.

Orci: I think if this works, it’ll be because it sometimes does what would’ve happened in the other timeline, and it sometimes doesn’t. It’s sort of a harmony - and finding that right balance will the be key if we do it.

After Star Trek bows in this weekend and audiences get a chance to wrap their fan/non-fan heads around the idea of divergent and parallel timelines, we get smacked in the face with Terminator Salvation, which will most likely end with the idea that time travel is on the forefront of Skynet’s attempts to kill John Connor, and – assuming as we are that Bale’s Connor lives – John himself might still be concerned with sending his father, a teenaged Kyle Reese back in time.

Or, if you read yesterday’s post about a possible Terminator 5 synopsis, we’ll have more discussion to do about time travel as a story-telling device.

[ED: I didn’t know where else to put this little fact, but it would be negligent not to mention I’m avoiding Lost. I want to watch the whole series in one burst, but I can’t avoid that the show is now jumping through time. I imagine it would be beneficial to this post to know what the series was attempting, but I want to enjoy the full work when it gets close to ending.]

These actual time travel/alternate dimension theories are pretty complex, but not above the average movie goer. If you doubt me, I suggest you read THIS POST on OverThinkingIt.com called “How Time Travel Works (and doesn’t) in Back To The Future.”

It just seems like we’re teetering on the edge of involving sci-fi science in our everyday reboots, even though the decision is made from more of a marketing standpoint. Then again, the convenience of the Superhero Genre being based both on ancient, Joseph Campbell-studied mythology AND having decades of backstory on the printed comics page (and the built in audiences to go along with it) has been bringing us a constant flow of superhero films for almost a decade.

Who’s to say time travel and tapestry timeline theory aren’t going to be the “get out of canonical jail free” card for the next wave of summer blow-em-ups.

I happened to find myself talking to someone who is 2 degrees away from McG, but completely out-of-the-loop as to the director’s work. He’s just that guy she sees occasionally. So, while watching Mean Girls on ABC Family, I took it upon myself to let loose a few bullet points about the director.

- People give him a lot of crap for the fact that he made both Charlie’s Angels movies. These people are idiots who don’t fully understand big-budget directing OR the purpose of the Charlie’s Angels movies.

- More people should have seen We Are Marshall. Yeah, it was one of those “we will persevere” sports stories, but - once again - if you’re just looking to see what McG is capable of with his visual style, it’s not bad in the least.

- His name is McG. Yeah, it’s a nickname that makes him sound like a McDonald’s product, but the man can lens a film on a massive scale. When you saw J.Lo in The Cell, or managed to catch The Fall in an indie theater, you thought: “Wow, cool visuals,” not “What kind of director prick calls himself Tarsem.” Get over the unfortunate nickname, people.

I also mentioned that the tides have turned with the Terminator Salvation public perception. Something that Peter from /Film covers in his set visit post:

Our visit to New Mexico took place last July, before the video blogs became popular, so we’ve decided to record a video blog talking about our visit to the set of Terminator Salvation after the fact, and nearly a year later. You have to understand that perception of this film was a lot different back then. No one in the world had faith in McG, and no one wanted to see another Terminator film, especially after the third movie. Our experiences on set changed our opinions of what this movie is and could be, and I’m sure you’ve seen that in my enthusiastic coverage of the film over the last year.

What follows is Peter’s set report, including video/audio of him discussing the film’s set with Frosty from Collider. The whole post takes awhile to digest, and while I probably could pillage it for cool facts, well, then Peter would yell at me, probably. CHECK IT OUT HERE!

I will, however, point out that McG is already all-up in his next two projects. Namely, 20,000 Leagues Under The Sea for Disney and Terminator 5. News on both, under the cut…

I don’t know about you, but where I live movie tickets are, like, $11. And people assume that I have some series of clandestine connections to see films, but really - with blockbusters especially - I’m mostly in your boat. And though I pledge to see Wolverine in the theaters because I stole some money of Fox’s already by watching the workprint, I think that “multiple secret endings” is partial bullshit.

Let’s get serious: Am I going to play Russian roulette with $11 movie tickets in hopes that I’m gonna catch ‘em all and see “the complete story?” No. That’s not cheap, and I am cheap.

Here’s what I’m gonna do. I’ve been talking to people, surfing the internet and I think I can tell you, after the cut, how many “secret” endings there are, who they involve, which one you’re gonna hope you get and which one you’ll be pissed if you get…

I don’t know what’s up with this madness, but Sony Pictures Classics, who acquired the Duncan Jones-directed Moon at Sundance this year, seems to be only releasing the Sam Rockwell sci-fi drama in New York and LA come June 12th.

Which is much worse than this movie should be doing, distribution-wise. Granted, I’m only going by what I’ve heard about the film, but tomorrow when I head to the Tribecca Film Festival screening and try to steal myself a poster, I have a feeling I’ll be bemoaning this more.

SPC’s website has this e-mail listed for “general comments,” why not yell at them on behalf of Mr. Jones (or follow Jones on Twitter!): Sony_Classics@spe.sony.com.

I’m not a massive collector of DVDs. I have a pretty good memory, and between Netflix, the internet, and my In Real Life friends (I keep telling you they exist!), I’d much rather spend my money on something that ISN’T Oceans 12. Yeah, it’s an okay movie sandwiched between it’s sequels that I can watch multiple times, there’s just no reason for me to own it. I can YouTube the best parts.

My (current) external hard drive is also filling up with different copies of my directing-partner’s reel, the X-Men Origins: Wolverine leak I still haven’t watched my copy of, a couple of PDF scripts and…well, some DVD rips.

But now all your storage problems might be solved as G.E. announces that it’s experiments in holographic disc encoding has allowed them to expand the space on DVD and Blu-Ray disc by 100x. In layman’s terms: 100 DVDs on 1 disc…

Getting sick of hearing about Wolverine yet? 20th Century Fox hopes not. Just in case you’re still undecided about seeing X-Men Origins: Wolverine this weekend to kick off the summer movie season, the director of the flick, Gavin Hood (who may or may not have sparred with execs on set) has announced that there will be multiple secret endings tacked onto different prints of the X-Men prequel when it comes out. Remember how only you and a few other folks knew to stay until after the credits during Iron Man to see Nick Fury? Yeah, it’s gonna be like that….