Kaiju Shakedown is in full-on psychic mode today, issuing damning judgments against movies that are barely in production. Movies are constantly mutating - screenplays are re-written, fresh voices are hired, bad-idea-generating producers are replaced - so we'd be thrilled to have our predictions proved wrong about any of these movies. Some of them may actually wind up becoming modern day classics, but based on the info that's out there now it seems clear that...
These Movies Will Suck
The SEVEN SAMURAI remake will suck based on the review of the screenplay that's gone up over on CHUD. Set in the present the film is now about White People being hired to save innocent Thai farmers from evil Thai drug dealers. It's about time the world learned that White People can save non-White people from themselves better than anyone else on the planet: Hello, Afghanistan! Hi there, Iraq! The White People are here to save you now!
Actual photo of White People saving
Thai People.
The Japanese remake of Akira Kurosawa's THE HIDDEN FORTRESS will suck based on this report from Ryuganji. It's not the fact that boy band member/chicken bait, Matsumoto Jun, will play the two bumbling vagabonds who wound up becoming the basis for George Lucas' R2-D2 and C3-P0 that indicates suckiness but the fact that the movie is being directed by awesome-special-effects-man-turned-blah-director, Higuchi Shinji. Shinji has a talent for taking brain-busting concepts (super-submarine tries to stop Hiroshima bombing! Earthquakes totally destroy Japan!) and magically turning them into mediocre movies (LORELEI! SINKING OF JAPAN: THE REMAKE!).
Action fantasy, LAUNDRY WARRIOR, will definitely suck because, well, it's about a Korean martial arts fighter and it's called LAUNDRY WARRIOR. Rosie O'Donnell comments further:
"Ching chong, ching chong, Laundry
Warrior, ching chong."
Eager to present the other side of the story, however, one of the film's producers, Michael Peyser (SPEED 2: CRUISE CONTROL) says, "With 15 set-piece action sequences and use of every kind of weapon from swords and machine guns to dynamite, plus 50 carnival tricks, LAUNDRY WARRIOR lends itself perfectly to the downloading and gaming environments." Or, more simply, "Our movie will not only suck but it will insult your intelligence at the same time."
Hong Kong movie, IN LOVE WITH THE DEAD, will suck because it's directed by the Pang Brothers, the unstoppable directing duo who brought the world RE-CYCLE, DIARY, TESSERACT, THE EYE 10 and THE MESSENGERS - all of which sucked. However, its suckiness is slightly mitigated by this sentence in the movie's plot synopsis: "Later when he goes to a Gas station, the staff says Ming smells like a corpse." Smells like a corpse? What flavor is that? Maybe it won't suck after all. (24FramesperSecond has a trailer)
Speaking of the Pang Brothers, their own remake of their own middling action movie, BANGKOK DANGEROUS, is assured a place in the International Gallery of Suck because a) it wrapped a year ago and is being dumped in February 2008, and b) this still:
"A hitman (Cage) in Bangkok to pull off a series of jobs falls for a local woman and bonds with his errand boy."
Bollywood, what's wrong with you? I get all excited about the new Ram Gopal Varma movie, then it turns out to suck. Then I get all excited about some new musical and all the musical numbers turn out to be non-choreographed, MTV style videos featuring people rolling around on the beach or riding motorcycles. Look, Bollywood, when you give me musical numbers you'd better give me ones where the entire cast breaks into song and dance in one location (suddenly teleporting the whole routine to Switzerland still counts as one location in the Bolly-verse) and everyone does all the steps, even if they're really bad at them. And no, having the male lead stand in one place in really tight trousers and thrust his hips to the beat does not count as dancing. The new trend in Bollywood movies is towards a music video aesthetic and, to be honest, it stinks and will cause millions of young Indian kids to grow up to be serial killers or axe murderers or something else equally horrible.
Thankfully, there's Farah Khan . One of Bollywood's best choreographers she blew onto the scene in 1992 and unleashed her fancy footwork on flicks like DIL SE, DIL TO PAGAL HAI, MAST, MONSOON WEDDING and KABHI KUSHIE KABHIE GHAM. Then, in 2004 she made her directorial debut, MAIN HOON NA, a movie that was your typical college film about Shah Rukh Khan returning to university as an undercover agent in order to bust up a terrorist ring and it featured some truly great dance scenes including a one-take opening number. Now her follow-up film, OM SHANTI OM, is set to debut on November 9 in America, India, and the UK.
Starring Shah Rukh Khan (again!) it opens in the Bollywood film industry of the 1960's with SRK playing a lowly extra in love with the leading lady. She gets murdered, then he dies and then not only are they both reincarnated in 2007, but so is the murderer. See, there's nothing that Bollywood can't make more complicated. Featuring cameo appearances by pretty much everyone in Bollywood (42 stars and directors appear in one musical number) this sounds dreadful when you first hear about it, but check out the trailer and see if you can resist the multi-colored, hyperbolic goods on offer. Frankly, I'm sold. If there's a big movie full of famous stars coming out where I can turn off my brain and look at the pretty colors, I'd rather it was OM SHANTI OM than RENDITION.
In several James Bond movies you hear reference to other "00" agents - 006, 008 - and occasionally you'll see one of them briefly, sitting near 007 himself. We have to assume that they're as sexy, tough, charming and resourceful as James Bond himself, but we just never hear about them. They're the unsung heroes of the superspy world in the same way that Masato Harada is the unsung hero of Japanese film. He's the 006 of Japanese directors.
Mentored by American director Howard Hawks, Harada moves pretty comfortably between Japan and America, directing his sci fi flick GUNHED (1988) in Japan, then going to Skywalker Ranch to try to work on the soundtrack, having Toho botch the Japanese release, then meeting with James Cameron who's a fan of the film in Hollywood. He's made more than his fair share of mistakes (read this Midnight Eye interview to hear how he turned down Peter Falk, Samuel Jackson, Ben Affleck and Matt Damon for roles in his movies - whoops!) but he keeps directing and for every beautiful but lifeless dud like INUGAMI he turns out an amazing, perfectly realized film like BOUNCE KO GALS.
To my mind, his best films have been BOUNCE KO GALS which is just about as perfect as a movie about friendship can be, CHOICE OF HERCULES which is a blow-by-blow reenactment of the 1972 stand-off with the Red Army terrorists in a Nagano mountain lodge, and SPELLBOUND (JUBAKU) about a corporate banking scandal. All three movies feature Japan's everyman, Koji Yakusho, and they're all sprawling stories with a great eye for detail and a hard-marching narrative. They're occasionally criticized for being a little anonymous or stylistically bland, but that's Harada's style: story first, then style. He's the craftsman director in the gray flannel suit.
Now, two new Harada-helmed movies are ready to hit screens. The first is SUICIDE SONG, a horror movie about a pop song that causes people to kill themselves. Inspired by Hungary's so-called suicide song, "Gloomy Sunday" it opened in Japan in September and is based on a story by the writer of ONE MISSED CALL. While it sounds like warmed-over J-horror a few things give one hope besides Harada in the director's chair. Ryuhei Matsuda, one of Japan's best young actors (see his performance of the titular character in Shinya Tsukamoto's NIGHTMARE DETECTIVE for proof), is starring; the lead character is a third-rate gossip mag publisher and Harada has always had a good eye for off-the-beaten-track, hermetic workplaces (the schoolgirl porno industry in BOUNCE KO GALS, the family papermaking factory in INUGAMI, the workings of a terrorist cell in CHOICE OF HERCULES); and three, the trailer. After a bog standard start it warms up and turns into something lush and evil. Also, speaking of bogs, there was a seriously hardcore advertising campaign for the movie (Japanese title: DENSEN UTA) that took place in toilets all over town. Now that's marketing!
The second new movie from Harada is MORYO NO HAKO, a horror mystery based on a series of books by Natsuhiko Kyogoku. Starring Hiroshi Abe (the hypnotist from SURVIVE STYLE 5+) the film is about a bunch of mysterious boxes, stuffed with dead girls, that start showing up all over town in post-war Tokyo. There's a psychic who prays to them, a building shaped like the boxes, and a writer, a cop and a private detective who team up to figure out what's going on. Harada's historical films like CHOICE OF HERCULES are impeccable and the trailer for MORYO NO HAKO bears this out. It's set for a December 22 release in Japan.
(MORYO NO HAKO trailer on the official website. Click on the second button from the left and a trailer window will open. Click on the two characters to the right in the middle of the screen and it will play.)
Rob Cohen, director of THE FAST AND THE FURIOUS and DRAGON: THE BRUCE LEE STORY, is hard at work on the third MUMMY film which is crammed with Chinese talent, from Jet Li playing the big bad guy, to Michelle Yeoh and Isabella Leong, as well as Tony Cheung as camera operator (he was the DP on COMEUPPANCE, DRUNKEN MASTER 2, ISLAND OF GREED and EYE IN THE SKY). A few pictures went up recently of Jet as the Evil Chinese Stereotype and you can find more of them on Cohen's blog.
Cohen writes:
"Today, I shot Jet Li on his black stallion riding into battle in his jade armor. He looked nothing short of an Emperor. He has been totally professional and warm to me and the entire crew, like the prince he truly is."
Maybe he should be reading Jet Li's blog, where Jet writes:
"It's been just a couple days since arriving in Montreal, Canada and joining the production of THE MUMMY 3. As I sit here, reading the Chinese/English script, I have a sense of deja vu...In my May 4th blog entry, I mentioned a similar experience while reading the script for THE FORBIDDEN KINGDOM... In the end, making movies is my job, so I won't let the audience down. I always try my best to do a good job."
Maybe I'm reading too much into it, but it sounds like he's saying that the MUMMY 3 script is just repetitive junk.
Recently everyone here learned all about Hong Kong's adult film classification, Category III. If you read other blogs, like the highly-recommended Twitch, then you've also learned about Johnnie To and Wai Ka-fai's new co-directing project, MAD DETECTIVE, the crime drama that reunites them with Lau Ching-wan, possibly the greatest actor to come out of Hong Kong in the late 90's.
Now, look at this MAD DETECTIVE poster (go here for a bigger image) and you'll learn that the movie's rated Category III. This is getting to be a tradition with Johnnie To after ELECTION and ELECTION 2 were both rated Cat III. What's next? A RAPED BY AN ANGEL sequel with Angie Cheung?
If Shochiku can do it, why can't you? On November 23, Shochiku's HUNT FOR RED OCTOBER-style techno thriller, MIDNIGHT EAGLE, is opening in the US...the exact same day it's opening in Japan. Holy Cow! It's a day and date opening, just like the big Hollywood studios do it! Directed by Izuru Narushima (of the critically acclaimed THE HUNTER AND THE HUNTED) and starring stalwart character actor Tatsuya Fuji as the Prime Minister, Ken Ishiguro (UMIZARU 2), Yuko Takeuchi (THE RING) and Takao Osawa (CRYING OUT LOVE IN THE CENTER OF THE WORLD) it's Shochiku's big fall movie and it'll be playing in NYC at the ImaginAsian and in LA, about a week later, at the ImaginAsian LA.
Overseas distributors are always complaining about how their movies are treated in the US - they don't get paid, their films are shelved, the movies are released with little to no marketing support - and they're constantly threatening to do it themselves. Korean powerhouse CJ Entertainment has been making noises about doing big day and date releases in the US for as long as I can remember, but they never seem to get it together. They did do a small release of TAZZA: THE HIGH ROLLERS which did good business in NYC and VOICE OF A MURDERER which did not-so-good business, but their release of TYPHOON came long after the movie had been torpedoed by terrible reviews, and they've been saying they're going to release KING AND CLOWN for years, although to do so this long after the movie came out in Korea would be box office suicide.
But somehow - maybe using advanced alien technology? - Shochiku has figured out how to do it. They're releasing day and date, they've hired a US publicist, it looks like Strand Releasing is handling the movie in a service deal (where Strand will manage the US release for a flat fee), they've provided a print early enough for press screenings and they've provided artwork. This all seems simple enough, but I once worked on a movie for a Japanese distributor who told us that it would be over three months before they could provide us with a screener of their film for the press, despite the fact that their movie was already out on English-subtitled DVD. Never overestimate the intelligence of movie distributors. But I guess the lesson we're learning now is never to underestimate their ability to get their hands on advanced alien technology.
The most important part of Shochiku's plan for MIDNIGHT EAGLE is the day and date release. Judging by how the UMIZARU movies played in NYC there're a large number of Japanese living in the US and Japanese Americans who want to see Japan's big blockbusters at the same time as people living in Japan. This is how Bollywood movies make millions in North America, by releasing day and date and advertising in their local community's press. Tartan even made a nice chunk of change screening an unsubtitled print of SILMIDO to US-based Korean audiences a few years ago, before the movie hit DVD.
Releasing your movie yourself in the US before it comes out on video seems like a no brainer, but most Japanese and Korean distributors just don't seem to be able to figure it out. But now Shochiku has, so there's no excuse for anyone else.
This week has been sooooo unfair! The biggest poke in the eye was reserved for Ang Lee's LUST, CAUTION which the Hong Kong Film Awards has disqualified from all its major prizes because it's not Hong Kong enough. What's holding it back is that they can't find 8 Hong Kongers among the key talent, one of the requirements for all nominees. So it's not Taiwanese enough for the Oscars and it's not Hong Kong enough for the Hong Kong Film Awards. What country is it from exactly? And to top that off, the Hong Kong scandal rags are now saying that Tony Leung and Tang Wei had actual, real live, WILD ORCHID-style sex in front of Ang Lee's cameras. That's not fair!
But it's just more unfairness heaped on the head of Carina Lau, Tony's long-suffering wife, who talked about what a moody little girl Tony was during the LUST, CAUTION shoot and how miserable he was. Tony, of course, went to the press and said that he had a great time shooting the movie which is totally unfair to Carina, who also had to deal with the fact that while the Chinese media ranks her as the sixth most bankable celebrity in China (ahead of Fan Bingbing. Yay!) she didn't even place on Maxim's Hot 100 list. A list that has room for Fan BingBing and Athena Chu but doesn't have room for Carina Lau? Unfair!
"I'm 26, and hotter than you!"
"I'm 43, and more bankable than you."
Also unfair is the case of poor Hoang Thuy Linh, star of Vietnam's "aren't schoolgirls pure and wonderful" TV series, Vang Anh's Diaries. The unlucky kid recorded a sex video with her boyfriend and some of his friends posted it online. She's had to publicly apologize, her show has been canceled, and with people saying things like, "Thuy Linh should be condemned. If I ever see her again on TV, I will turn it off, for sure," her career is ruined. And, of course, no one's blaming her boyfriend who shot the video in the first place. The local press cites this as an example of depraved foreign influences corrupting the local youth.
Depravity is, of course, being decried in awesome places like China where 40 hack composers have signed a letter calling for a boycott of "unhealthy" online music. They single out songs like "That One Night" about a couple who get loaded and have sex, as a particular offender. I haven't heard the song in question but after reading the lyrics ("That one night you didn't refuse me!/That one night I hurt you/That one night you were all tears") it actually sounds like they might be better off devoting their energies to telling young Chinese kids about lubricant.
Of course, when young women like the TWINS actually do depraved things, like lend their voices to a remake of the 1974 Chinese propaganda film SPARKLING RED STAR, no one seems to care. But that might be because China is so completely awesome that it even wants its astronauts who join the International Space Station to start a chapter of the Communist Party...in space ! "Like foreign astronauts having their beliefs, we believe in Communism, which is also a spiritual power," says a delegate to the recent CPC National Congress. "If we establish a Party branch in space, it would also be the 'highest' of its kind in the world," he concludes, leading one to believe that maybe he's the 'highest' party delegate at the National Congress.
Ready for China's space program
Things were completely unfair for poor, put-upon fans of Korea's boy band, Super Junior, who were protesting the inclusion of a new member in the band. They argued that adding a fourteenth member to this thirteen-member teen idol group would completely ruin its artistic integrity.
They shall overcome.
This week was so unfair that it didn't even differentiate between superfans and superstars. Bollywood's Shah Rukh Khan says that because he has a Muslim surname he now clears overseas customs slower than his assistant. "These days I am the one who is stopped so...he carries my bags. Internationally, if you have a Muslim surname you might be considered a terrorist." This is probably just what he what he tells his assistant, however.
Unfair things are always happening to Jackie Chan, and this week was no different. While Jet Li was out schmoozing with President Bill Clinton (who had apparently just watched Jet Li's FEARLESS) Jackie was slated to sing his Olympics countdown song, "We Are Ready," at the Special Olympics. First off, he couldn't sleep the night before the taping because "I have been scheduled to perform the song alongside some disabled people in wheelchairs. I’m quite concerned for their safety because I don’t want to put them in any danger during the performance," which is very nice of him. Then, right before he went on stage he was chilling in his dressing room when, "Someone brought a little girl backstage and asked if she could take some pictures with me. I shook the person’s hand and said, 'Okay, come on in.' Without thinking, I naturally reached out my hand so I could shake the little girl’s hand but then I suddenly realized this poor little girl has lost both of her hands. I felt so embarrassed." So unfair to Jackie!
"Hey, Jackie. Who did YOU hang out with
last weekend?"
But Jackie isn't trying to mock the handicapped, unlike Takeshi Kitano, who's all about mocking people. In this recently unearthed and semi-translated TV interview between Akira Kurosawa and Takeshi Kitano, he talks about his desire to make a ZATOICHI movie (the interview seems to have taken place in the early 90's before he actually did so). Kitano says that in the Zatoichi series the blind swordsman is often holding a young girl's hand, then runs into some bad guy, drops the girl's hand, gets in a sword fight, cuts the bad guy to ribbons, then takes the girl's hand and walks away with her. Kitano says that he always wondered why Zatoichi, being blind, never dropped the girl's hand and cut her to ribbons by accident, then took the bully's hand and walked away.
Exactly the attitude you'd expect for a director from Japan. Why? Because in Japan oversized bathroom stalls reserved for handicapped people have become black markets where young women sell their soiled panties to perverts. One enterprising and safety-conscious young girl says, "Some of the weirdos who buy used panties can be really scary. If I'm in a station's disabled toilet, people can hear my cries for help and safety is never far away...You can't get that peace of mind in places like love hotels." And there are other benefits, too! "Occasionally, and I mean really occasionally, there are perverts who'll give you money if you spit, or p-ss, or s--t for them. At those times, doing business in the toilet makes things so much easier." Sounds reasonable! And don't mind the long line of wheelchairs outside waiting for you to finish your dirty transaction so they can use the bathroom.
But there may be light at the end of the tunnel. In Japan's future, as long as you can drive a car (or a wheelchair, I suppose) you'll never need a public bathroom again. The Kaneko Sangyo company has unveiled a portable car commode. "The commode will come in handy during major disasters such as earthquakes or when you are caught in a traffic jam," the company says. Or just waiting for schoolgirls to finish selling their underpants to pervs.
Getting into the spirit of things, Kaiju Shakedown wants to ask you a totally unfair question: which unfortunate celebrity is wearing the ugliest outfit?
A) Han Xue & Her
Wedding Dress of Doom?
B) Karen Mok & Her
Lame' Princess Sleeves?
C) Jackie Chan & His Sparkle
Tuxedo?
Actually, I vote D) Anyone in this picture:
Andy Lau, of course, gets a special award for having the most awesome outfit.
But Andy always has the most awesome outfits, so that's totally unfair.
Hey! Did you know that there's a new Japanese movie out, based on a hit TV show about a hard-hitting female cop, called UNFAIR ?
I'm still digging for more info, but the Japanese movie, AKANBO SHOUJO, has finished shooting and is slated for a 2008 release. Why should you care? Because it's based on a horror manga by Umezu Kazuo whose DRIFTING CLASSROOM is one of the only manga I can bring myself to read because it's one of the only manga in which this happens to bratty elementary schoolchildren:
And this...
And this!
AKANBO SHOUJO is about a traumatized young woman, Yoko, returning to her decrepit family mansion where a jealous deformed baby sporting an adult brain is hidden in the attic. The company-provided synopsis blithely notes, "Also, her mother, Yuko, has lost her mind."
The director of this flick is none other than Yudai Yamaguchi who directed BATTLEFIELD BASEBALL, MEATBALL MACHINE and CROMARTIE HIGH SCHOOL. So the director of CROMARTIE HIGH SCHOOL + a deformed and crazy baby + the writer of DRIFTING CLASSROOM = Tomorrow's Classic Movie...Today!
Even though it flopped at the box office, 1999's Korean horror flick, MEMENTO MORI, has gone on to become a modern day classic in the new Korean cinema canon. The sequel to spooky schoolgirl flick WHISPERING CORRIDORS it's a beautifully experimental, lushly romantic tale of two schoolgirls in love and the ghost who wants to kill them. Walking the fine line between exploitation (lesbian schoolgirls! ghosts!) and art (suicide pacts! repressed emotions!) it was the debut film for directors Kim Tae-Yong and Min Kyu-Dong and after making a stylish splash like this you'd expect them to go on to do great things.
Not so much.
Director Min Kyu-Dong (who in this interview claims that he and Kim Tae-Yong were "like lovers" and that their wives were jealous of their relationship) went on to direct the so-so romantic comedy ALL FOR LOVE in 2005 and Kim Tae-Yong (who, in this interview , likens directing MEMENTO MORI to "having a knife stuck in my chest") directed the ambitious art film melodrama FAMILY TIES in 2006 but otherwise they haven't done much in the way of feature film directing.
Now it looks like Kim Tae-Yong's new movie, VANISHED, is in pre-production. Budgeted at a plush $4.2 million it's coming from mandfc Films (a new distribution company founded by composer/philosophy professor/producer Cho Sung-Woo and responsible for Lee Myung-Se's M). The synopsis:
"A woman comes along. She talks to a man about his family, his habits, and past experiences with women. Everything she says is wrong, but the man finds himself attracted to the strange woman. Then, she disappears. He then falls into a world where everything the woman said is true, and reunites with her. Will the two of them fall in love?"
Rain, the Korean pop star who earned the ire of Stephen Colbert when he placed higher than Colbert in a Time Magazine poll and who starred in Park Chan-Wook's still-undistributed-in-the-US I'M A CYBORG, BUT THAT'S OKAY, had a world tour this past summer and it didn't go very well. And who's to blame? Racism, according to Rain, who was interviewed earlier this week on Mnet's "Wide Special" (I think this is the episode, in Korean only, Part One and Part Two). According to translators, Rain says that the tour caused him to "feel his limits as an Asian" and stated that "he felt discriminated against despite his talents and abilities."
That may be, but his World Tour was probably scuttled by things like, say, calling the concert "Rain's Coming." Also, hiring the company Star(M) to manage "Rain's Coming" seems to have resulted in an endless river of cancellations, postponements, lost money, lack of communication with fans who spend their lives just waiting by the phone to hear that Rain's in town so they can go cheer and wave glow sticks, and poor scheduling choices. Overinflated ticket prices and a last minute change in venue resulted in a half full stadium in Sydney (Read oodles of fans complaining about how this was handled over here in the comments section of the Sydney Morning Herald). Then Rain was greeted with a lawsuit over trademark infringement when he arrived in America. The lawsuit was brought by Rain: The Beatles Experience, a Beatles tribute band formed by Dick Clark in 1979. Actually, they filed back in February, claiming they were the only people who could perform under the name "Rain" and asking for an injunction to keep Rain from performing and "three times the profits attributable to the Defendants infringement of the Mark." which translates into, "We want all the money you make in America and then some more money." Their chief argument was that allowing Rain to perform in America under the name Rain would "destroy its hard work and investment because it will be forced to explain to the public and music venues that Plaintiff is not the Korean 'Rain.'" Since there is no possibility of confusing the two artists (solo, Korean, R&B performer with great abs vs. white Beatles cover band with love handles), this is what's known as a shakedown.
On June 14, Judge Hicks denied the injunction saying that there was no convincing proof that the Korean Rain would cause undue hardship to Rain: the Beatles Experience and that, in fact, this injunction would cause greater undue hardship to the Korean Rain by affecting his upcoming World Tour. Rain: the Beatles Experience then requested that the case move to a jury. Judge Hicks' was right, and a jury trial is a big waste of time, but none of this wound up mattering much. After canceling his Canadian concert dates (you can read an angry letter about Star(M)'s handling of this here, also the promised ticket refunds still haven't materialized as of the end of September), Rain's World Tour then canceled his US concert dates, including a same-day cancellation in Los Angeles and a last minute cancellation in Hawaii. In every case, Star(M) left local promoters holding the bag when they canceled "postponed" ("The Hawaii concert is postponed but not cancelled," a Star(M) spokesman said) their dates one after the other. In Hawaii after the postponement, everyone except Star(M) held a press conference saying that not only have they received no explanation from Star (M) for the cancellation "postponement" but that they want their money back from Star (M) which is holding hundreds of thousands of dollars that the local promoters paid in advance to secure the concert. The local production manager said, "The boat with equipment is actually here already from San Diego, and we were beginning to construct the stage. All of Star(M)'s stage concerns were met, at Click's expense." The group's spokesman from one of the promotion companies said, "Obviously, I'm a human being and I have feelings, but I cannot express them right now."
Star (M)'s lack of organization is being cited as the cause for the cancellations. "They were trying to do too many venues for too big a show," says the LA promoter, stating that with 18 trucks full of equipment for the show, scheduling a show in San Francisco four days after the New York show and then a show in LA just three days after the San Francisco show was almost impossible. In the meantime, US organizers originally said that the concerts will be rescheduled for September or October. Nope.
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