Articles on this Page
- 01/19/14--03:44: _New trailer for Dis...
- 01/19/14--05:23: _Special Features - ...
- 01/19/14--05:39: _Game of Thrones sea...
- 01/19/14--05:57: _Skyfall screenwrite...
- 01/19/14--09:07: _First Look at She-H...
- 01/19/14--09:13: _The Wolf of Wall St...
- 01/19/14--09:24: _Interview: A conver...
- 01/19/14--09:37: _Second Opinion - Th...
- 01/19/14--10:48: _NBC places series o...
- 01/19/14--11:30: _Tales of Honor esta...
- 01/19/14--12:08: _Special Features - ...
- 01/19/14--14:31: _J.J. Abrams talks S...
- 01/19/14--23:18: _First TV spots for ...
- 01/19/14--23:19: _Comic Book Review -...
- 01/20/14--00:02: _DVD Review - White ...
- 01/20/14--04:36: _Mark Ruffalo praise...
- 01/20/14--04:36: _Gravity and 12 Year...
- 01/20/14--05:26: _Miles Teller to pla...
- 01/20/14--05:40: _Parks and Recreatio...
- 01/20/14--05:43: _Justin Lin to remak...
- 01/19/14--03:44: New trailer for Disney's Maleficent starring Angelina Jolie
- 01/19/14--05:23: Special Features - Matthew McConaughey: Zero to Hero
- 01/19/14--05:39: Game of Thrones season 4 behind-the-scenes featurette
- 01/19/14--05:57: Skyfall screenwriter John Logan talks Bond 24
- 01/19/14--09:13: The Wolf of Wall Street continues to feast
- 01/19/14--09:24: Interview: A conversation with comic book artist Chris Burnham
- 01/19/14--09:37: Second Opinion - The Railway Man (2013)
- 01/19/14--23:18: First TV spots for 300: Rise of an Empire and Pompeii
- 01/19/14--23:19: Comic Book Review - Mass Effect: Foundation Volume 1
- 01/20/14--00:02: DVD Review - White House Down (2013)
- 01/20/14--04:36: Gravity and 12 Years a Slave tie for PGA Award
- 01/20/14--05:26: Miles Teller to play Dan Aykroyd in John Belushi biopic
- 01/20/14--05:40: Parks and Recreation renewed for seventh season
- 01/20/14--05:43: Justin Lin to remake Shaolin Temple
Walt Disney Pictures has released a second trailer for Maleficent featuring plenty of new footage from the upcoming live-action retelling of the 1959 animated classic Sleeping Beauty, which stars Angelina Jolie as the Mistress of All Evil; check it out after the official synopsis...
"A beautiful, pure-hearted young woman, Maleficent has an idyllic life growing up in a peaceable forest kingdom, until one day when an invading army threatens the harmony of the land. Maleficent rises to be the land’s fiercest protector, but she ultimately suffers a ruthless betrayal—an act that begins to turn her pure heart to stone. Bent on revenge, Maleficent faces an epic battle with the invading king’s successor and, as a result, places a curse upon his newborn infant Aurora. As the child grows, Maleficent realizes that Aurora holds the key to peace in the kingdom—and perhaps to Maleficent’s true happiness as well."
Maleficent is directed by Robert Stromberg, Oscar-winning art director of Avatar and Alice in Wonderland, and sees Jolie starring alongside Elle Fanning (Super 8), Sharlto Copley (Elysium), Imelda Staunton (The Pirates! Band of Misfits), Miranda Richardson (The Hours), Juno Temple (The Dark Knight Rises), and Lesley Manville (Romeo and Juliet).
Maleficent is set to hit cinemas on March 14th.
Jackson Ball on the career resurgence of Matthew McConaughey....
Hollywood is often painted as a cruel, unforgiving place. A place where second chances are few and far-between and if you blow your ‘big break’, you are forgotten instantaneously. It sounds like quite a bleak environment to be around, so it’s always reassuring when someone comes along and breaks the trend, seizing hold of a second chance with both hands. One such person is Mr. Matthew McConaughey.
Cast your minds back to 2009; McConaughey had just released the rather abysmal rom-com Ghosts of Girlfriends Past. This shocker capped off a good decades-worth of drivel for the actor, who seemed to be singled-handed stocking and restocking DVD bargain-bins the world over. McConaughey’s main offences included barrel-scraping rom-coms (The Wedding Planner, Failure to Launch), unenjoyable ‘adventure’ films (Reign of Fire, Fool’s Gold), and a variety of other flops (Two for the Money, We Are Marshall). This streak tarnished the actor’s reputation, subjecting him to large (albeit deserved) amount of mockery from cinema-goers everywhere.
However, back in 2009, something changed; it’s as though he sat himself down, took a good, long look in the mirror and said in his husky Texan tone, “Enough is enough”.
Since then, McConaughey has been a different kind of streak, churning impressive performances one after the other. First came The Lincoln Lawyer, 2011’s sleeper hit that first showed that he could bring more than just charm to a leading man role. The film wasn’t necessarily ground-breaking in it narrative or direction, but thanks to its star (and a decent supporting cast) audiences and critics left theatres thoroughly entertained. A fluke, surely.
Well no, actually. That same year McConaughey wowed audiences again, this time taking a supporting role behind another hit-and-miss lead, Jack Black, in Richard Linklater’s Bernie. It seemed redemption was the order of the day for this dark comedy, with critics showering praise on both McConaughey and Black, a notion that would have seen unthinkable several years before.
Then came 2012, or as it was later known, The Year of McConaughey. The actor starred in not one, not two, but three successful movies, all of which were praised by critics worldwide. First came the film that really made people believe that his career turnaround was no flash in the pan, Mud. The coming-of-age drama excelled on the festival circuit, led by yet another towering performance from McConaughey. Clearly wanting to show he was a man with range, McConaughey contrasted his role in Mud masterfully with his chilling performance in Killer Joe. On top of those back-to-back dramas, he stopped things from becoming a little too serious with Magic Mike, another huge sleeper hit.
Fast forward to the present day, and Matthew McConaughey has recently crowned his comeback with what is arguably his most significant performance to date, as Ron Woodroof in Dallas Buyers Club. The actor’s portrayal of a homophobic AIDS sufferer has garnered him Best Actor nominations from almost every major awards body in cinema. He’s already picked up the Golden Globe and is already being tipped as one of the favourites to pick up an Academy Award to go with it, a feat that will cement one of the greatest career comebacks in Hollywood.
At this point you may be thing, ‘So? Actors’ careers have peaks and troughs all the time. McConaughey is nothing special!’. Well you might have a valid point, but just as an experiment, try to re-imagine the first time you saw Sahara, or How to Lose a Guy in 10 Days. What if I were to tell you then that the actor you were watching would stand a good chance at a Best Actor Academy Award, less than a decade later?...
Agree? Disagree? As always we’d love to hear your comments…
Jackson Ball - follow me on Twitter.
We've already had a glimpse at what's in store for us when Game of Thrones returns in April for its eagerly-anticipated fourth season thanks to the official trailer, and now HBO has debuted an 'On the Set' featurette, which takes us behind-the-scenes and features comments from stars Peter Dinklage (Tyrion Lannister), Maisie Williams (Arya Stark), Iain Glenn (Ser Jorah Mormont), Gwendoline Christie (Brienne of Tarth), Charles Dance (Tywin Lannister), showrunners David Benioff and D.B. Weiss, executive producer Frank Doelger and production designer Deborah Riley; take a look here....
Game of Thrones season 4 is set to get underway on HBO on April 6th.
IGN caught up with the Skyfall scribe, during which they managed to grab a few comments about the next 007 movie, which will see Sam Mendes returning to the director's chair for Craig's fourth outing as Bond.
"All I can say about Bond is that I'm happily writing it [otherwise] Sam would rappel through the window and kill me. My goal is to write a great movie that's appropriate, to build on what we did on Skyfall, but make it its own unique animal. The themes, ideas and the characters from Skyfall can obviously continue on, because it is a franchise, and it is an ongoing story. So I think there's resonance from Skyfall in the new movie. I grew up on the Bond movies. The first one I saw was Diamonds Are Forever, when I was a kid. I just loved them to pieces. I love all the elements, from the books - mostly from the novels; going back to Ian Flemming is where I started with Skyfall - and there's certainly elements of the movies and the novels that we've brought into the new movie, as they did into Skyfall."
And as for the chances of Bond's nemesis Ernst Stavro Blofeld returning to the franchise now that the producers have settled their long running legal dispute Logan refused to confirm or deny his inclusion, simply stating that, "You know, I think our villain's appropriate to the story we're telling."
Bond 24 is set for release on October 23rd 2015 in the UK and on November 6th 2015 in North America.
Commenting on the Critics with Simon Columb....
Ryan Gilbey, writing for New Statesman tackles the opinionated tweets and comments regarding the morality of The Wolf of Wall Street:
Read the full article here.
Akin to Gilbey himself, I don’t want to turn my own response into a review of the film but I do believe than many stylistic choices (for better or worse) make the film uncomfortable watching. I would argue that this is Scorsese’s intention and bolster the artistic prerogative whereby to show the difference between good and evil, you need to show evil.
Viewing The Wolf of Wall Street yesterday forced me to consider two things. One – comparing The Departed with The Wolf of Wall Street made me realise that I preferred the Oscar winner of 2006. While The Departed (and Hugo and Shutter Island) is a definitive Martin Scorsese film, utilising Leonardo DiCaprio to the best of his ability, The Wolf of Wall Street is DiCaprio’s film, utilising Scorsese to the best of his ability. Secondly, I didn’t laugh as much in The Wolf of Wall Street as I should’ve. A second watch may be easier to digest, but on the first viewing it was difficult to separate the repulsive and deeply repugnant attitude of the characters and the jokes they made. Throwing a human with dwarfism is funny for the same reason the bankers find it funny – and I couldn’t comfortably laugh alongside these perfectly-played, but definitively despicable men.
This relates to Gilbey’s article as therein lies the rub. Scorsese (or is it DiCaprio?) intentionally tells us a story whereby we are conflicted as we watch. If you are offended, then you stay offended. If you relate, then it doesn’t tell you categorically that you’re wrong. If you are inspired, there is no effort to deter you from aspiring (like the many students at the seminar in the closing moments) to be like him.
The Wolf of Wall Street should shock you. It should force you to reconsider your own politics – three years? Three-f*cking years!!?? – that’s all he got. His lifestyle, in the politics of today, isn’t wrong. The type of person who works in the cut-throat banking sector is animalistic and hungry for financial success. Jordan Belfort is a role model to these people.
When I watch the rich and affluent of Mad Men, Jon Hamm’s Don was neatly placed in a box sealed with the term “The Perfect Man of the 1950’s”. Yes, he womanised, smoked and drank to excess. But he had class and style – women wanted him; men wanted to be him. The intrigue is how time changes and though Don is the perfect man of the 1950’s, we know he will inevitably fall from grace as he is far from the perfect man of the 1960’s.
Like it or not, DiCaprio portrays Jordan Belfort as the perfect man of 2013. Granted, set in the 1980’s, Belfont’s well-groomed, social drink-and-drug taking, happily-addicted-to-sex man is a real person in the 1990’s – but in 2013, this is who we are told to aspire to. We see music videos as multiple women dance with Robin Thicke and Pharrell, not unlike the hookers in Belfort's stag party; drug-taking is less risqué with marijuana and cocaine seen commonplace amongst every social-strata. The media sell this image and the government are lenient on those affluent enough to live it. What is uncomfortable is how millions are still granted bonuses in Wall Street, while the public sector is cut further. What is uncomfortable is how no one has been held to account for the recession – and no arrests have been made. What is uncomfortable is how billions is lost through tax evasion and legal loop-holes the government fails to control - while Benefits Street is played on repeat to instigate tension between those who find it difficult to pay the bills and want to blame the free-loaders down the road.
What is uncomfortable is that The Wolf of Wall Street still exists. The billions that continue to be clawed back from honest workers are effectively paying a debt that currently sits in mansions and properties, expensive cars, yachts and helicopters. Audiences and critics are aware of this and those who don’t “get it” are ignoring a class war that continues behind closed doors. If you think it is too explicit and are insulted by the film, wake up. “Filmmaker and actors highlighting lewd lifestyle” versus “actual, powerful people who live the lifestyle” - I know which angers me more. If you think it celebrates a reckless life, again, the reality is worse than the film as it is multiplied. Jordan Belfort isn’t the only white-collar criminal – not to mention those who don’t get caught and successfully bribe others. Scorsese and DiCaprio have shown us an ingrained culture of greed and excess that, though beginning in the 1980’s, continues to this day – the question is whether you agree with this western world we have set-up because it ain’t changin’ yet.
Villordsutch chats with comic book artist Chris Burnham about his work on Batman Incorporated and his upcoming projects, including the creator-owned horror title Nameless with Grant Morrison....
Chris Burnham:2000AD on my iPad. The new Judge Dredd serial, TITAN, is especially good. Judges who have gone rogue are shipped off to a prison on Saturn's moon Titan, and Dreddy has to lead a secret raid on the place to discover why all communication with the joint has mysteriously been cut off. Henry Flint is THE 2000AD artist of the last decade or so, and Rob Williams is doing a bang-up job of adding enough wrinkles and complications to make this simple set up sing. Good shit.
V: With your name now firmly stamped in Batman (if not comic book) history the doors must easily open for projects in the future, though this cannot have been always the case. Is there any moment in your career that'd like to forget?
CB: Huh. I think my biggest regret from the days when I was breaking in was when I had the chance to go with my brother and my best buddy to see Green Day on their American Idiot tour but chose instead to go out to dinner with some comic pros I'd just met. They're nice enough guys, but I never ended up working with them, and my buddy is still busting my balls about missing the greatest concert ever.
V: Looking across your previous work you’ve had your fingers in many pies, though sometimes for only one or two issues each title. Did you ever doubt yourself or abilities when it came to doing a straight run on Batman Inc.?
CB: Well, just before Batman Inc I did seven straight issues of The Amory Wars, where I proved to myself that I could hit a monthly deadline if my feet were put to the fire. That said, I certainly doubted that I could follow in Yanick Paquette's footsteps and not be tarred and feathered for my efforts!
V: When you initially explained the idea behind Batman Inc. did a spark of inspiration strike about how you wanted it to look like or was it a 4 a.m. hair pulling, throwing a dart at a collection of sketches moment?
CB: I basically just drew the way I'd been drawing for the previous couple of years and leaned into the Frank Quitely influence a little harder and more consciously than I had been. Easy as that.
V: As mentioned earlier your name is stamped in comic book history, but growing up who was your favourite artist who you aspired to be like?
CB: John Buscema. How to Draw Comics the Marvel Way was my bible, and the Stern/Buscema/Palmer run on Avengers is was really got me into collecting comics.
V: I adored looking at the pages of Batman Inc. and before I started these questions I went back through and re-read every issue but paying more attention to what I was actually looking at. One of my favourite moments was the shards of glass used as panels on the page. I know it sounds simple, but I found in fascinating. Throughout the thirteen issues can you put your finger on one piece of work that made you proud?
CB: There's a fair amount in there that I'm pretty pleased with. I'm still surprised that I seem to have been the first person to do the infinite recursive Batman gag from the cover to #13. And I really like that Damian fetus doing the fist-palm motion on the last page of 13. Oh, and I love that little panel of El Gaucho jumping for the meta-bomb on page 7 or so.
V: Where are you now in the comic universe; are you taking a step back to breathe or is that not in your make-up?
CB: I'm still busting hump! I recently finished the Judge Dredd FCBD story, I've got a few more days of work to do on a project that I can't talk about at the moment, and then it's time to really get cranking on NAMELESS, the new horror book I'm doing with Grant at Image! We've been talking about doing a creator-owned book since we first started working together on Batman & Robin #16, and I'm super psyched that we're finally doing it! It's a little too early to talk about anything specific, but I think it's going to be weird and horrible and like nothing Grant or I have ever done before.
V: A question for myself: - What is Grant Morrison like in person? I’ve loved his work for years and I’m waiting for the day where someone asks, “Who would like to interview Grant Morrsion?”
CB: He's a super nice, very enthusiastic guy. Not nearly as omnipotently weird as he comes off in interviews, and very charmingly nerdy. The last time we hung out we got into a serious geek session over Gerry Anderson's UFO and the Moench/Gulacy Master of Kung-Fu. Good shit (although I think Straker is such a tit that he basically ruins UFO. They really should have switched the casting of the two main characters).
V: Finally, I like to ask for advice for people who aspire to be involved in the comic book universe; if you can give one gem of information to people looking to be comic book artists what would you give?
CB: Just go out there and draw the awesomest comic you can. RIGHT NOW. Don't waste any time on sample pages, just make your own crazy comics. And don't wait until you think you're good enough or you've got the right paper or you've finally saved up for a Cintiq or whatever other dumb excuses you give yourself to not get your shit done. Just fucking make some comics. And then shove them in the faces of everyone who breathes.
Many thanks to Chris Burnham for taking the time for this interview. Visit his official site here and follow him on Twitter.
Villordsutch likes his sci-fi and looks like a tubby Viking according to his children. Visit his website and follow him on Twitter.
The Railway Man, 2013.
Directed by Jonathan Teplitzky.
Starring Colin Firth, Nicole Kidman, Hiroyuki Sanada, Stellan Skarsgård, Jeremy Irvine and Sam Reid.
Decades after being tormented as a prisoner of war at a Japanese labour camp during World War II, a former British Army officer sets out to confront those he holds responsible.
In the final act of The Railway Man, it occurred to me this true story of a former British POW who worked on the Burma Railway only to discover one of his former captors was alive and well 40 years later, was a truly excellent film destined for Oscar glory. That film, unfortunately, was the one now playing in my head, because the one unfolding on the screen was played far too safe to really make the impact the story deserved.
That’s not to say director Jonathan Teplitzky's telling of The Railway Man isn’t a solid film but I feel the material probably couldn’t have been made into anything less than a ‘good’ film in the hands of any number of competent film makers. What holds the film back is its aim to be accessible to all audiences because nothing is left unsaid and nothing is left for the audience to contemplate because everything is right there on the screen. The film is very safe and doesn’t take any risks in the storytelling or narrative which is fine to a degree but frustrating when you think of what could have been achieved.
The main storyline of Eric Lomax (Colin Firth) finding one of his former captors, Nagase (Hiroyuki Sanada), a Japanese translator in the war, is alive and living in the same place Lomax was held prisoner and forced in to labour, needed to be brought into the film far sooner than it is and is given too little time to even scratch the surface of the men’s feelings and emotions. The fact that Lomax and Nagase remained friends for over 20 years after their meeting is crying out for themes such as forgiveness, trauma, the lasting psychological effects of war, and friendship to be explored in much greater depth than here.
The screenplay needs a rewrite from beginning to end, although all the major components are in place. The film might have benefitted if it started with Lomax on his journey from England to Southeast Asia, already in the knowledge that Nagase is alive, and with the anger and unfulfilled closure burning in his heart from the moment the film begins. Flashbacks to his torture and his interactions with Nagase would have had more impact to this particular story with the audience knowing a showdown is approaching, and moreover, the conversations between the men could have played out far longer than Teplitzky’s film allows. Just two men with so much personal history and so many unresolved emotions who never thought they would ever lay eyes on each other now finally get to say how they feel four decades on. Certainly the film gives us this, but it’s all too quickly packaged up and resolved.
The film spends too much time with Lomax’s wife (Nicole Kidman) who is clearly acting as the audience surrogate, asking questions and trying to understand her husband’s past. Again, this is safe screenwriting as Patti isn’t needed to tell this story, and an actress of Nicole Kidman’s talent and stature feels out of place in this film. Her Q and A partner is also just an exposition character disguised as someone more important because he’s played by another talented actor, Stellan Skarsgård. Both are fine in their roles, but their characters distract the film from the crux of its themes.
With a script focused on dramatising the meeting between Lomax and Nagase, I could imagine Ron Howard tackling this material, a film maker who has shown us his expert ability to tell a story of two very different men bound by a common goal or experience (Rush, Frost/Nixon). A different script could have given Colin Firth and Hiroyuki Sanada material to really get to grips with, and make the audience think of both sides of story. Could we forgive this man? Would we want to take his life? Would we even go back to the place which forever changed our life? Can we understand our enemy as a man, not a monster? All these questions are barely touched upon and it’s a great shame.
Despite my trying to rewrite the screenplay in this review, The Railway Man is a good film for what it is, but the material has the potential to give us something unforgettable and something which might have been one of the year’s best films.
Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★ ★
Rohan Morbey - follow me on Twitter.
According to Deadline, the series is described as "a modern and dark reimagining of the classic tale of Oz in the vein of Game Of Thrones, drawing upon stories from Baum’s original 14 books that include lethal warriors, competing kingdoms, and the infamous wizard as we’ve never seen him before. A head-strong 20-year-old Dorothy Gale is unwittingly sent on an eye-opening journey that thrusts her into the center of an epic and bloody battle for the control of Oz."
As well as Emerald City, NBC has also ordered an 8-episode miniseries The Slap, which is based upon an Australian series of the same name and is described as a "a complex family drama that explodes from one small incident where a man slaps another couple’s misbehaving child. This seemingly minor domestic dispute pulls the family apart, begins to expose long-held secrets, and ignites a lawsuit that challenges the core American values of all who are pulled into it."
Anghus Houvouras thinks Benedict Cumberbatch should play Marvel's Sorcerer Supreme....
The fun of writing film columns is when an article generates a discussion about a movie and you come out the other side with a completely different perspective from when you started.
Russell Crowe as Doctor Strange
Directed by Ridley Scott
Never in an thousand years would this pairing have crossed my mind. It's inspired, and certainly out of left field (something I always appreciate). Ridley Scott has the chops to pull something like this off, even if the supernatural and otherworldly elements seem way outside his wheelhouse. Russell Crowe seems a little too... something for the role. Too dour? Too grumpy? I keep trying to picture it in my head, where it all plays out like Jor-El: Sorcerer Supreme. Not quite sure how excited that gets me.
Daniel Day-Lewis as Doctor Strange
Directed by Darren Aronofsky
Here we go. This is the kind of strangeness I can totally get behind. Daniel Day Lewis certainly has the chops and could be horribly overqualified for the job. But wouldn't you still love to see it? The odds of this Academy Award winning super-talent taking on the role seem less likely than a big budget adaptation of Peter Porker: The Spectacular Spider-Pig. Mad props for the idea of putting Aronofsky behind the lens. The weird genius behind films stuff like Requiem for a Dream and The Fountain certainly has the skills to do something dark and beautiful. He's already flirted with some comic book characters before having been attached to Batman: Year One and The Wolverine. Great choices, and something I would certainly line up to see.
Richard Armitage as Doctor Strange
Directed by M. Night Shyamalan
Say what? We've gone from 'inspired' to 'lunacy'. Armitage as Doctor Strange is something I could totally get behind. But Shyamalan? That would take an epic leap of faith after sitting through crazy junk like The Happening and The Last Airbender. I didn't hate After Earth as much as everybody else, but the guy has been struggling to achieve average for quite some time.
After reading all these comments and speculating myself on the subject, I had an epiphany. The kind of 'holy hell' moment where you almost feel idiotic that you didn't think of it sooner.
Directed by Anyone other than M. Night Shyamalan
I know, right? Seriously. Once I latched onto this idea, casting anyone else seems ridiculous. Cumberbatch is that perfect blend of serious and slightly silly. A performer who can do dark and brooding but still never takes himself too seriously. He feels almost genetically predisposed to play the part. A character that starts out as an insufferable egotistical neurosurgeon know it all before permanently injuring his hands rendering him unable to continue his career. How easy would that be for someone like Cumberbatch who has a gift for playing those difficult, arrogant types?
The character of Doctor Strange feels like it has the same challenges of someone like Loki, who has to travel between territories of villainous, vulnerable, and likability. Strange has a similar tap-dance to perform, treading the line between arrogant and heroic. A character who has to rule the roost, and then loathe the idea of losing it all. His ascension into the role of hero is a dark and difficult journey that requires an actor of unique range. I think Benedict Cumberbatch fits the bill. That blend of cold calculation and intensity that fits the character so well.
Benedict Cumberbatch should play Doctor Strange. There is no better choice.
What are your thoughts?
Anghus Houvouras is a North Carolina based writer and filmmaker. His latest work, the novel My Career Suicide Note, is available from Amazon.
Star Wars: Episode VII, and now J.J. Abrams has taken a break from pre-production on the hotly-anticipated sequel to address the internet rumour mill, as well as providing a brief update on the status of the film.
"We’re working really hard and we’ve got our script and we’re in deep prep," Abrams tells The Wrap. "Full steam ahead, y’know. [Jesse Plemons] is one of the actors that we've talked to, yeah. It’s not often that I read about actors that I’m going to be meeting. I get to read articles about actors who were going to come in, so I get to see someone and say, 'Oh, I read that I was going to see you. It’s very nice to see you.' It’s usually agents talking to people about what’s happening. It’s just a lot of noise. There’ve been so many [rumours]. It’s amazing to see how many there are. … But it’s sweet because it shows that there’s an interest in this movie that we all obviously know is there. But it is an incredible thing to see how many incredible things get thrown out that people then write commentaries about. How happy they are, how disappointed they are about something that is completely false. It’s a lot of noise, frankly."
Meanwhile, Abrams also discussed whether he had any plans to shoot Episode VII in the IMAX format, as well as revealing that he's opted against using digital: "In the right situation, I’d like to use IMAX again. The problem with IMAX is that it’s a very loud camera. It’s a very unreliable camera. Only so much film can be in the camera. You can’t really do intimate scenes with it. It’s slow. They break down often. Having said that, they’re working on digital versions of that, so there may be a version one day. But, we’re going to be shooting this next movie on film."
Star Wars: Episode VII is set for release on December 18th 2015.
Two big upcoming historical actioners debuted their first TV spots over the weekend in 300: Rise of an Empireand Pompeii, both offering up some new footage packed with swords, sandals and six-packs; check them out here...
Based on Frank Miller's latest graphic novel Xerxes, and told in the breathtaking visual style of the blockbuster 300, this new chapter of the epic saga takes the action to a fresh battlefield - on the sea - as Greek general Themistokles attempts to unite all of Greece by leading the charge that will change the course of the war. 300: Rise of an Empire pits Themistokles (Sullivan Stapleton) against the massive invading Persian forces led by mortal-turned-god Xerxes (Rodrigo Santoro), and Artemisia (Eva Green), vengeful commander of the Persian navy.
300: Rise of an Empire opens on March 7th, with Noam Murro (Smart People) directing a cast that includes the returning Lena Headey, Rodrigo Santoro and David Wenham alongside Sullivan Stapleton (Animal Kingdom), Eva Green (Dark Shadows), Jack O'Connell (Skins), Hans Matheson (Clash of the Titans) and Callan Mulvey (Zero Dark Thirty).
Milo does know that his friend, the Gladiator NIGELLUS, is being forced to compete the next day in a seemingly unwinnable battle in the Coliseum. As Milo tries to find a way to save his friend, he learns that Columba has been promised to another man and that he himself has been sold to a new master. Just as it seems things can’t get any worse, Mt. Vesuvius suddenly explodes with the power of 40 nuclear bombs, sending a torrent of 1,000-degree ash and smoke into the city. Lava flows down the mountainside, killing thousands. As Pompeii crumbles, Nigellus is imprisoned inside the Coliseum, Columba is locked inside her family’s villa, and Milo is trapped aboard a ship bound for Naples.
As the people of Pompeii flee the obliterated city, Milo is determined to return to it to save his friend and his beloved Columba. With fire and ash destroying the only world he’s ever known, an ordinary man is tested to his breaking point in this heart-pounding tale of extraordinary heroism.
Pompeii is set for release on February 21st with a cast that includes Kit Harington (Game of Thrones), Emily Browning (Sucker Punch), Jared Harris (Sherlock Holmes: A Game of Shadows), Kiefer Sutherland (Melancholia), Carrie-Anne Moss (Unthinkable), Adewale Akinnuoye-Agbaje (Thor: The Dark World), and Jessica Lucas (Evil Dead).
Villordsutch reviews Mass Effect: Foundation Volume 1...
I never liked the Mass Effect games. Well, to be honest, I never liked the first Mass Effect game and due to this I couldn’t give a ruddy stuff about the following two. “Possibly blinkered?”. Yes I agree but after being stuck on an unknown space station talking to numerous whatevers whilst repeatedly being told to go someplace which was somewhere and when there I’m not to upset someone I turned the game off and sold it on eBay. My interest in Mass Effect ended at the close of the bid. Why then would I be interested in a Mass Effect graphic novel? The Gods only know that answer, but I’m glad I was.
What we have here is a collection of stories set in the universe of Mass Effect, but luckily for the casual reader like myself you don’t have to be completely versed in said universe to appreciate what is happening, although I’m guessing you’d be rather giddy at the tales if you are. Written by the lead writer from Mass Effect 2 and Mass Effect 3 Mac Walters, the book consists of a cluster of stories which constantly keep up the levels of both interest and entertainment; though not mind blowing they are good and I enjoyed them quite a bit. They only downside comes with the transitions between the stories. I can’t say whether in this first volume if we have either three or four separate stories, though I don’t believe this is the fault of Mac Walters but rather more of an issue with the art.
Tony Parker (R.I.P.D. and Dead Man’s Run) and Omar Francia (Star Wars: Legacy and Mass Effect: Redemption) along with colours by Michael Heisler (DV8 and Star Wars: Legacy) are the team that unfortunately hold this graphic novel back from being excellent. The reason being is down to lack of detail when it comes to drawing/colouring the characters. I was midway through some stories under the belief that Protagonist A, from an earlier story, is perhaps Protagonist B in this story; this and the character definition fails or (on occasion) bear no resemblance to characters in the previous panel. The palette also becomes an issue for the characters as they tend to look flat and again this interferes with the story. You become even more confused to who the heck is occupying the centre of the panel. This is a complete juxtaposition however as the backgrounds are outstanding. The colours and shading can be perfect and the art for the background set pieces too is spot on; if only this detail could have been applied to the characters.
To wrap up, we have here an enjoyable set of tales which even non-fans of the Mass Effect series can enjoy, let down only by the poor character artwork that was chosen to bring the tales to life. However, this shouldn’t dissuade you from parting with you money. I may even scour eBay to see if I can get a copy of Mass Effect cheap and give it another chance.
Villordsutch likes his sci-fi and looks like a tubby Viking according to his children. Visit his website and follow him on Twitter.
White House Down, 2013.
Directed by Roland Emmerich.
Starring Channing Tatum, Jamie Foxx, Maggie Gyllenhaal, Jason Clarke, Richard Jenkins, Joey King, and James Woods.
While on a tour of the White House with his young daughter, a Capitol policeman springs into action to save his child and protect the president from a heavily armed group of paramilitary invaders.
White House Down stars Channing Tatum as John Cale, a Capitol Policeman who has just been denied the job of Secret Service agent for President James Sawyer (Jamie Foxx). Cale takes his daughter Emily (Joey King) on a tour of the White House because she is a huge fan of politics. While on the tour the building is taken over by a paramilitary group out to capture the President as well as completely take over the White House. With him being the only person capable of taking down this group, Cale has to do whatever he can to save his daughter, the President and the White House.
This film is directed by Roland Emmerich who is best known for blowing up the White House in films like Independence Day and 2012. Once again he's attacking the White House, as the title states, and surprisingly it's actually somewhat entertaining. White House Down is one of two films that came out in 2013 about the White House being overtaken, the other being Olympus Has Fallen, and this ended up being the better of the two. Roland Emmerich takes a different approach than Antoine Fuqua; where Olympus Has Fallen felt like it was trying to be a little too serious White House Down knows it's a big, dumb action movie and doesn't try to be anything else.
Right from the get go you can easily tell how the entire film is going to play out but there's plenty going on and it's entertaining enough to keep you interested. Most of the action sequences are pretty good and the specials effects are solid except for a few scenes here and there. Nobody in the cast gives a particularly good performance but everyone does a decent enough job to keep things moving. Joey King was a nice surprise however because she is really good here considering she's fairly young - she's actually better than a lot of the veteran actors. Channing Tatum and Jamie Foxx are kind of going through the motions but their chemistry together works very well which is a highlight of the film. Everyone else from Maggie Gyllenhaal to Jason Clarke and James Woods are all fine in their roles, but most aren't given much to do.
Even though White House Down is entertaining in some ways, it certainly has a few negatives. It's a little too long and 15-20 minutes could have been cut because after a while it just feels like the same things keep happening. To go along with some bad CG, from time to time there are shots where you can clearly tell it's green screen. It also takes a good while for the siege to begin at the White House. It's understandable to develop some of the characters beforehand but it just felt like was taking too long to get to the action.
In the end, White House Down has some fun action scenes and great chemistry between Channing Tatum and Jamie Foxx. It's a little overlong and feels like it panders around from time to time, but nevertheless the film is entertaining enough to recommend.
Flickering Myth Rating - Film: ★ ★ / Movie: ★ ★ ★
"I would say that it’s better, it’s cooler, it’s more awesomer [than The Avengers]," Ruffalo tells MTV News. "It’s a little bit darker, but also really has Joss Whedon’s incredibly, witty and sly sense of humor. [Bruce Banner] gets to do such great stuff."
Meanwhile, Ruffalo has also given fans of the Green Goliath hope of a solo Hulk movie, stating that, "I’m in The Avengers, but if you took my screentime it would come to about ten minutes, along with the 12 other people I’m sharing the screen with, so my input’s kind of limited on that. But if we get to a standalone Hulk movie, I’ll have a much better chance to do that. I’m just learning now how to find my voice and bring it into the studio world."
The Avengers: Age of Ultron will open on May 1st 2015 with Ruffalo joined by Marvel veterans Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Chris Hemsworth (Thor), Jeremy Renner (Hawkeye), Scarlett Johansson (Black Widow), Don Cheadle (War Machine), Samuel L. Jackson (Nick Fury) and Cobie Smulders (Maria Hill) and franchise newcomers Elizabeth Olsen (Martha Marcy May Marlene) as Scarlet Witch, and Aaron Taylor-Johnson (Kick-Ass 2) as Quicksilver, Thomas Kretschmann (Dracula) as Baron Strucker and James Spader (The Blacklist) as Ultron.
For the first time ever, The Producers Guild of America announced a tie for its top prize, with both Gravity and 12 Years a Slave sharing the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures at the PGA Awards, which were presented at the Beverly Hilton in Los Angeles last night. The result blows open the race for the Best Picture Oscar, which previously had 12 Years a Slave and American Hustle as front-runners.
Check out a full list of winners here (highlighted in red)...
The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
American Hustle (Columbia Pictures)
Producers: Megan Ellison, Jon Gordon, Charles Roven, Richard Suckle
Blue Jasmine (Sony Pictures Classics)
Producers: Letty Aronson, Stephen Tenenbaum
Captain Phillips (Columbia Pictures)
Producers: Dana Brunetti, Michael De Luca, Scott Rudin
Dallas Buyers Club (Focus Features)
Producers: Robbie Brenner, Rachel Winter
Gravity (Warner Bros. Pictures)
Producers: Alfonso Cuarón, David Heyman
Her (Warner Bros. Pictures)
Producers: Megan Ellison, Spike Jonze, Vincent Landay
Nebraska (Paramount Pictures)
Producers: Albert Berger, Ron Yerxa
Saving Mr. Banks (Walt Disney Studios Motion Pictures)
Producers: Ian Collie, Alison Owen, Philip Steuer
12 Years a Slave (Fox Searchlight Pictures)
Producers: Anthony Katagas, Jeremy Kleiner, Steve McQueen, Brad Pitt & Dede Gardner
Wolf of Wall Street (Paramount Pictures)
Producers: Riza Aziz, Emma Koskoff, Joey McFarland
The Award for Outstanding Producer of Animated Theatrical Motion Pictures
The Croods (DreamWorks Animation)
Producers: Kristine Belson, Jane Hartwell
Despicable Me 2 (Universal Pictures)
Producers: Janet Healy, Chris Meledandri
Epic (Twentieth Century Fox)
Producers: Jerry Davis, Lori Forte
Frozen (Walt Disney Studios Motion Pictures)
Producer: Peter Del Vecho
Monsters University (Pixar Animation)
Producer: Kori Rae
The David L. Wolper Award for Outstanding Producer of Long-Form Television
American Horror Story: Asylum (FX)
Producers: Brad Buecker, Dante Di Loreto, Brad Falchuk, Alexis Martin Woodall, Ryan Murphy, Chip Vucelich
Behind the Candelabra (HBO)
Producers: Susan Ekins, Gregory Jacobs, Michael Polaire, Jerry Weintraub
Killing Kennedy (National Geographic Channel)
Producers: Mary Lisio, Larry Rapaport, Ridley Scott, Teri Weinberg, David W. Zucker
Phil Spector (HBO)
Producers: Michael Hausman, Barry Levinson
Top of the Lake (Sundance Channel)
Producers: Philippa Campbell, Jane Campion, Iain Canning, Emile Sherman
The Award for Outstanding Producer of Documentary Theatrical Motion Pictures
A Place At The Table (Magnolia Pictures)
Producers: Julie Goldman, Ryan Harrington, Kristi Jacobson, Lori Silverbush
Far Out Isn’t Enough: The Tomi Ungerer Story (First Run Features)
Producers: Brad Bernstein, Rick Cikowski
Life According To Sam (HBO Documentary Films)
Producers: Andrea Nix Fine, Sean Fine, Miriam Weintraub
We Steal Secrets: The Story Of Wikileaks (Focus Features)
Producers: Alexis Bloom, Alex Gibney, Marc Shmuger
Which Way Is The Front Line From Here? The Life And Time Of Tim Hetherington (HBO Documentary Films)
Producers: James Brabazon, Nick Quested
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
Breaking Bad (AMC)
Producers: Melissa Bernstein, Sam Catlin, Bryan Cranston, Vince Gilligan, Peter Gould, Mark Johnson, Stewart Lyons, Michelle MacLaren, George Mastras, Diane Mercer, Thomas Schnauz, Moira Walley-Beckett
Downton Abbey (ITV – United Kingdom; PBS – United States)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame, Liz Trubridge
Game of Thrones (HBO)
Producers: David Benioff, Bernadette Caulfield, Frank Doelger, D.B. Weiss, Christopher Newman, Greg Spence, Carolyn Strauss
Producers: Henry Bromell, Alexander Cary, Michael Cuesta, Alex Gansa, Howard Gordon, Chip Johannessen, Michael Klick, Meredith Stiehm
House of Cards (Netflix)
Producers: Joshua Donen, David Fincher, Karyn McCarthy, John Melfi, Eric Roth, Kevin Spacey, Beau Willimon
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy
30 Rock (NBC)
Producers: Jack Burditt, Robert Carlock, Luke Del Tredici , Tina Fey, Matt Hubbard , Marci Klein, Jerry Kupfer , Colleen McGuinness, Lorne Michaels, David Miner, Dylan Morgan , Jeff Richmond , Josh Siegal, Tracey Wigfield
Arrested Development (Netflix)
Producers: John Foy, Brian Grazer, Ron Howard, Mitchell Hurwitz, Dean Lorey, Troy Miller, Richard Rosenstock, Jim Vallely
Big Bang Theory, The (CBS)
Producers: Bill Prady, Chucke Lorre, Steve Molaro, Faye Oshima Belyeu
Modern Family (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Jeffrey Morton, Dan O’Shannon, Jeffrey Richman, Chris Smirnoff, Brad Walsh, Bill Wrubel, Danny Zuker
Producers: Simon Blackwell, Christopher Godsick, Armando Iannucci, Stephanie Laing, Julia Louis-Dreyfus, Frank Rich, Tony Roche
The Award for Outstanding Producer of Non-Fiction Television
30 for 30 (ESPN)
Producers: Bill Simmons, John Dahl, Erin Leyden, Connor Schell
Anthony Bourdain: Parts Unknown (CNN)
Producers: Anthony Bourdain, Christopher Collins, Lydia Tenaglia, Sandra Zweig
Duck Dynasty (A&E Networks)
Producers: Deirdre Gurney, Scott Gurney, Mike Odair, Hugh Peterson, Adam Saltzberg, Charlie Van Vleet
Inside The Actors Studio (Bravo)
Producers: James Lipton, Shawn Tesser, Jeff Wurtz
Shark Tank (ABC)
Producers: Mark Burnett, Becky Blitz, Bill Gaudsmith, Yun Lingner, Clay Newbill, Jim Roush, Laura Skowlund, Max Swedlow
The Award for Outstanding Producer of Live Entertainment & Talk Television
The Colbert Report (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Paul Dinello, Barry Julien, Matt Lappin, Emily Lazar, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart
Jimmy Kimmel Live (ABC)
Producers: David Craig, Ken Crosby, Doug DeLuca, Gary Greenberg, Erin Irwin, Jimmy Kimmel, Jill Leiderman, Molly McNearney, Tony Romero, Jason Shrift, Jennifer Sharron, Josh Weintraub
Late Night with Jimmy Fallon (NBC)
Producers: Hillary Hunn, Lorne Michaels, Gavin Purcell, Michael Shoemaker
Real Time with Bill Maher (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin, Matt Wood
Saturday Night Live (NBC)
Producers: Ken Aymong, Erin Doyle, Steve Higgins, Erik Kenward, Lorne Michaels, Lindsay Shookus
The Award for Outstanding Producer of Competition Television
The Amazing Race (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
Dancing With The Stars (ABC)
Producers: Ashley Edens-Shaffer, Conrad Green, Joe Sungkur
Project Runway (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
Top Chef (Bravo)
Producers: Tom Colicchio, Daniel Cutforth, Casey Kriley, Jane Lipsitz, Erica Ross, Nan Strait, Andrew Wallace
The Voice (NBC)
Producers: Stijn Bakkers, Mark Burnett, John de Mol, Chad Hines, Lee Metzger, Audrey Morrissey, Jim Roush, Kyra Thompson, Nicolle Yaron, Mike Yurchuk, Amanda Zucker
The Award for Outstanding Sports Program
Hard Knocks (HBO)
Monday Night Football (ESPN)
Real Sports With Bryant Gumbel (HBO)
The Award for Outstanding Children’s Program
Dora the Explorer (Nickelodeon)
Phineas and Ferb (Disney Channel)
Sesame Street (Sprout)
SpongeBob Squarepants (Nickelodeon)
The Award for Outstanding Digital Series
Burning Love (http://screen.yahoo.com/burning-love/)
Epic Rap Battles of History (www.epicrapbattlesofhistory.com)
The Lizzie Bennet Diaries (www.youtube.com/lizziebennet)
Video Game High School (http://www.rocketjump.com/category/vghs)
Wired: What’s Inside (http://video.wired.com/series/what-s-inside)
So, which film do you think will take home the Best Picture Oscar? Let us know in the comments below...
The Hollywood Reporter, That Awkward Moment star Miles Teller has signed up to play comedy legend Dan Aykroyd in the upcoming John Belushi biopic.
While at the Sundance Film Festival, Emile Hirsch - who is set to play the late comedian Belushi - announced, “A shout out to Miles Teller. We’re going to be working together soon. He’s playing Dan Aykroyd in the Belushi movie.”
There has been no official word on whether Teller has signed on or if he has simply been offered the role but he's a promising actor and has a very strong grasp on comedy. Would Teller be a good choice for Aykroyd? Let us know in the comments below...
NBC is also trying to expand their partnership with Amy Poehler by green lighting a new comedy starring Orange Is the New Black’s Natasha Lyonne. Poehler will write and executive produce the project currently known as Old Soul and will also star as a woman who is trying to find herself and in the meantime, working as the aide to a group of elderly people.
Poehler recently won a Golden Globe for her role as Leslie Knope in Parks and Recreation and I personally can’t wait for more episodes of what may be the funniest show currently on television.
Lin’s experience directing blockbusters has gifted him an impressive budget of $100 million for the remake. Troy Craig Poon, the CEO of Perfect Storm Entertainment says, “The aim is to make an unprecedented Chinese-based tentpole with story, style and scope that will resonate with global audiences as well.”
Whether this will be Lin’s next project is unknown as he recently signed on to direct the follow-up to the Jeremy Renner-headlined The Bourne Legacy, which is set for release on August 14th 2015.