Quantcast
Channel: Flickering Myth
Viewing all 7138 articles
Browse latest View live
↧

Screenwriter Michael Arndt has written a treatment for Disney's Star Wars trilogy

November 8, 2012, 3:58 pm
$
0
0
From the moment that Disney announced it was set to develop a new Star Wars trilogy, the internet has been rife with speculation as to potential directors for Star Wars Episode VII. While it seems we're no closer to learning who will succeed George Lucas in the director's chair for the next instalment of the epic space opera, Vulture has broken the news that Lucasfilm has been working with Academy Award-winning screenwriter Michael Arndt (Little Miss Sunshine) to develop a treatment for Episode VII, with Deadline subsequently reporting that Arndt has delivered an outline for the next three movies, and is also in line to tackle the script for Episode VII.

According to Deadline's source, Arndt - whose other credits include Toy Story 3, The Hunger Games: Catching Fire and the upcoming 'Untitled Pixar Movie That Takes You Inside the Mind' - is said to have been developing the outline for several months and has delivered what Disney CEO Bob Iger referred to as a "pretty extensive and detailed treatment for what would be the next three movies, the trilogy" during the announcement of the studio's acquisition of Lucasfilm.  

So, with a screenwriter seemingly now on board, the next step will be to secure a director for the project and Vulture has suggested that Lucasfilm will approach Steven Spielberg (Lincoln), J.J. Abrams (Star Trek Into Darkness) and Brad Bird (Mission: Impossible - Ghost Protocol), with the trio joining an extensive list of rumoured candidates such as Matthew Vaughn (X-Men: First Class), Neill Blomkamp (District 9), Darren Aronofsky (Black Swan), Alfonso Cuaron (Children of Men), Joss Whedon (The Avengers) and Colin Trevorrow (Safety Not Guaranteed).
↧
Search

Turning The Page: The Jaws Log by Carl Gottlieb

November 8, 2012, 11:31 pm
$
0
0

“All the time they were negotiating for the book, and during the autumn of 1973, Dick [Zanuck] and David [Brown] had innocently assumed that they could get a shark trainer somewhere, who, with enough money, could get a great white shark to perform a few simple stunts on cue in long shots with a dummy in the water, after which they could cut to miniatures or something for the close-up stuff,” recounts Carl Gottlieb who chronicles the production adventures and mishaps involved with the first major summer blockbuster hit in The Jaws Log; he is well acquainted with the subject matter and the people involved as Gottlieb was recruited by filmmaker Steve Spielberg to rewrite the script composed by the author of the source material Peter Benchley.  To go along with the Blu-ray Combo release of the seafaring thriller, HarperCollins has republished the 2001 expanded edition which includes a photo section, an introduction by Benchley and an afterward that serves an information update.

A complete overview is provided of what is involved in producing a movie; from the discovery of the book manuscript and purchasing the film rights to negotiating with the local inhabitants and government agencies to get permission for the location shooting to the sneak previews.  What works in the favour of the book is that it was originally written before Jaws dominated the summer box office in 1975 meaning that the recollections are as fresh as the catch of the day.  Gottlieb’s self-depreciating sense humour adds a great deal of charm and amusement to proceedings.  “Talk about egos splits – you haven’t experienced schizophrenia until you sit in a story conference discussing whether you presence in a scene is necessary or desirable, knowing that every cut you make as a writer destroys you as an actor and that every objection you raise has to be judged on two levels: the writer’s defense of a character in a scene, and the actor’s dismay at being eliminated from a juicy role.”


Roy Scheider, Peter Benchley and Carl Gottlieb

For those who want to get an insider’s view of what it takes to make a movie, The Jaws Log is overflowing with facts, insights and wit; it is an enjoyable reminder that there is story behind the one being showcased on the big screen.

Trevor Hogg is a freelance video editor and writer who currently resides in Canada.

↧
↧

Movie Review - Flight (2012)

November 8, 2012, 11:44 pm
$
0
0
Flight, 2012.

Directed by Robert Zemeckis.
Starring Denzel Washington, Don Cheadle, Melissa Leo, Bruce Greenwood, Kelly Reilly, and John Goodman.


SYNOPSIS:

An airline pilot is hailed as a hero after saving the lives of his passengers following a mid-air catastrophe, but questions are soon raised as to who or what was really at fault for the near-disaster, leading to an investigation into what really happened on board the plane.


Denzel Washington is one of very few actors who consistently puts out good performances with each film he makes. Not every one of his movies is great, but Denzel is always great and sometimes even makes the movie better because of his performance. With Flight he teams up with legendary director Robert Zemeckis (Back to the Future, Forrest Gump) for the first time in his career.

Flight tells the story of Whip Whitaker (Washington), an airline pilot who just can't seem to stay away from alcohol and drugs. While piloting an airplane from Orlando to Atlanta complications cause the plane to go down. Thankfully, Whitaker is a skilled pilot and he is able to land the plane in a field causing only a few casualties, whereas had he not landed it the way he did more lives could have been lost. Whip becomes one of the biggest stories in the world and is seen as a hero, but when the toxicology report shows he was drunk and high on cocaine during the flight he discovers he could be held responsible for the deaths caused during the crash. As his life spends out of control he deals with it the only way he knows how to - by drinking.

After spending the last ten years or so making animated movies, Robert Zemeckis returns to live action with a bang. Teaming up with writer John Gatins (Real Steel, Coach Carter) the two are able to bring a very intriguing character study to the big screen. Add in another Oscar-worthy performance from Denzel Washington and I think it's safe to say that this is one of the best movies of the year.

There are a lot of scenes that are hard to watch here, especially the plane sequence. After watching Flight you'll never want to fly again. The movie takes you deep inside the world of alcoholism and I think it handles the subject quite well. We watch as Whip pounds down drink after drink and yet they make you like him so much that every time he picks up another drink you're yelling at him to stop like you've known him for years. You get a realistic look at what an alcoholic goes through and just how hard it is to stop, even when it's ruining your life. Gatins' writing and Denzel's performance definitely make you feel for this character and that's the main thing you need to have in a character study such as this.

Denzel isn't the only great actor we get here as they have brought in a solid supporting cast. Don Cheadle plays Whip's lawyer and as usual Cheadle gives another good performance. Bruce Greenwood as Charlie Andersen, one of Whip's friends, gives a good performance too although it felt like his character could have easily been taken out of the movie. A part of the story I didn't expect was the relationship between Whip and Nicole (Kelly Reilly), a woman who also has an addiction that he meets after his crash. Reilly gives a great performance, her and Washington really sell their relationship. Easily stealing the show is John Goodman who plays Whip's supplier. He only appears in two scenes but they are both hilarious and Goodman does a great job of playing such a bizarre character.

Although hard to watch at times, the direction from Robert Zemeckis and a sure to be Oscar-nominated performance from Denzel Washington help Flight soar to great heights.

Flickering Myth Rating - Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Jake Peffer
↧

Mark Wahlberg joins Transformers 4, official logo released

November 8, 2012, 11:57 pm
$
0
0
A couple of days ago Michael Bay took a moment to thank internet reporters for planting a seed in his mind after it was rumoured that Mark Wahlberg (The Fighter, Ted) was in line to join the cast of Transformers 4, and now Paramount Pictures has confirmed that the filmmaker will indeed reunite with his Pain and Gain star in the upcoming sequel.

"Mark is awesome," said Bay, who will shoot the fourth instalment of the blockbuster franchise next spring. "We had a blast working on Pain and Gain and I’m so fired up to be back working with him. An actor of his caliber is the perfect guy to re-invigorate the franchise and carry on the Transformers’ legacy."

As well as announcing Wahlberg's casting, the studio has also released the official logo for Transformers 4. Surprisingly, they haven't gone for Trans4mers (well, not yet, at least):


Transformers 4 is currently slated for release on June 27th, 2014.

↧

First trailer for Brad Pitt's World War Z

November 9, 2012, 12:51 am
$
0
0
Paramount Pictures has finally released the first full trailer for World War Z, the much anticipated zombie thriller starring Brad Pitt (Fight Club). The film is based on a hugely popular 2006 novel written by Max Brooks (son of Mel Brooks) and gives a first person account of a zombie war that ravages the world.

World War Z has been surrounded by drama and controversy since the announcement that the novel was being turned into a feature film, with Brad Pitt's production company Plan B securing the rights to the film only after winning a bidding war with Leonardo DiCaprio's Appian Way company.

J. Michael Straczynski (Babylon 5, Changeling) was the first screenwriter on the project and developed the first draft of the script but was then replaced by Matt Carnahan (The Kingdom, State of Play); however reports suggested that the final act of the film had to be re-written and Damien Lindelof (Lost) was brought in to assist with the task of writing a new ending, which ultimately led to the film being pushed back from the initially planned December 2012 release date to Summer 2013 to allow for re-shoots. The man at the helm of this epic zombie tale is Marc Forster (Quantum of Solace) and if reports are to be believed it seems the burden of this $180 million project may have taken its toll on the relationship between Forster and Pitt (who not only stars but is the producer of the film), which led to a rocky production set.


Rumours and speculation aside World War Z has the potential to be a mammoth film for 2013. With zombie dramas such as The Walking Dead captivating audiences on the small screen, it will be great to see what World War Z has in store and with a superb cast in Brad Pitt, Mireille Enos (The Killing), David Morse (The Green Mile) and James Badge Dale (The Departed), it has all the ingredients to be a monster hit.
↧
↧

Paul Franklin receives honorary doctorate from Bournemouth University

November 8, 2012, 11:21 pm
$
0
0

Along with co-founding British visual effects facility Double Negative, Paul Franklin has gained international acclaim for his work with Christopher Nolan which resulted in him winning an Oscar and a BAFTA for Inception (2010).  To honour his career as well as his contributions of being a guest practitioner lecturer to computer animation students, Franklin became Doctor of Arts at Bournemouth University today at the graduation ceremony for students from BU's Media School.

Professor John Vinney, Vice-Chancellor at Bournemouth University, stated in a press release, "Bournemouth University takes great pride in our Honorary Graduates. We recognise people who have excelled in their chosen field who will act as inspirational role models, both for our graduates and their families at the awards ceremonies and for our whole student body in the coming years.  We are, once again, delighted with the high calibre of our Honorary Doctorates and look forward to welcoming them into our university community."

Paul Franklin told the new graduates, “I’m very fond of Bournemouth University.   I’ve long worked with the students and a lot of them have become my colleagues over the years." The veteran visual effects supervisor added,  “There isn’t a day that goes by when I don’t draw on the experiences and things that I learnt myself when I was an undergraduate a long, long time ago.  You just begin to realise as your life goes on that it is really the beginning of something absolutely fantastic.”

↧

First image of Tom Cruise in All You Need is Kill

November 9, 2012, 4:51 am
$
0
0
The first image of Tom Cruise in director Doug Liman's (The Bourne Identity, Mr. & Mrs. Smith) sci fi actioner All You Need is Kill has arrived online, showing a mech-suit clad Cruiser running away from an explosion. With clunky armour like that, it's no wonder Cruise's future soldier is going to find himself killed over and over (and over) again...


Based upon Hiroshi Sakurazaka's Japanese sci-fi novel of the same name, All You Need is Kill sees Cruise as Lt. Col. Bill Cage, an officer who finds himself thrown into battle against a hive-like alien race; killed within minutes, Cage awakens at the beginning of the day and soon discovers he's been caught in a time-loop, forcing him to relive the same brutal combat over and over again. Cruise is joined in the cast by Emily Blunt (The Adjustment Bureau), Bill Paxton (Aliens), Jonas Armstrong (Robin Hood), Tony Way (Game of Thrones), Kick Gurry (Tangle), Franz Drameh (Attack the Block), Dragomir Mrsic (Snabba Cash II) and Charlotte Riley (World Without End), and the film is currently slated for release on March 14th, 2014.
↧

Alan Arkin joins Stallone and De Niro in Grudge Match

November 9, 2012, 5:55 am
$
0
0
Fresh from Ben Affleck’s latest, Argo, Alan Arkin has signed on to star in Grudge Match. The film will be directed by Peter Segal (Get Smart and Anger Management) and will star Robert De Niro, Sylvester Stallone and Kim Basinger.

Production is due to start early next year on the film that will centre on two aging boxing stars (Stallone and De Niro) as they come out of retirement for one last match. Stallone and De Niro are accustomed to the boxing world, with the latter winning an Oscar for his portrayal of Jake LaMotta in Martin Scorsese’s Raging Bull, so it could prove worth watching out for.

Stallone will play Henry “Razor” Sharp and De Niro his old foe, Billy “The Kid” McGuigan. Arkin will join the cast as Razor’s trainer who has to be rescued from a nursing home in order to help Razor get back in the ring. Basinger will star as the love interest of Arkin’s “Lighting” Louis Epstein.

Stallone is still in good shape to realistically get back into the ring though I’m not sure the same can be said for De Niro. Despite his method efforts, this is a demanding role for a man of his age. Still, whatever the outcome, there seems to be a new audience for these types of films. The geriatric comedy is a popular sub-genre with Hope Springs and The Best Exotic Marigold Hotel faring well at the box office and Quartet, Stand Up Guys and Last Vegas all forthcoming.

Grudge Match has a good enough cast of Oscar nominees and winners – it’s up to them to outdo what imaginably will be some poor direction from Segal.
↧
Search

Giveaway - Win Men Behaving Badly: The Complete Collection on DVD

November 9, 2012, 9:10 am
$
0
0
Wahey mate! The “greatest sitcom in the BBC’s history” and a true benchmark for every sitcom that followed, the sharp, brilliantly observant and consistently laugh-out-loud funny Men Behaving Badly comes to DVD in a fantastic 20th Anniversary collection that, for the first time, brings together every episode of all six classic series along with the four specials and the rarely-seen Comic Relief sketches.

To celebrate the release of Men Behaving Badly: The Complete Collection, we’re giving one lucky sod a copy of the DVD boxset!


Read on for a synopsis and details of how to enter the competition...

"20 years after its first TV broadcast, the complete collection of Men Behaving Badly is now available in one definitive box set for the very first time. That's all six classic series plus the hilarious final trilogy of feature length episodes 'Last Orders' and the riotous Christmas Special 'Jingle Balls'. In addition, the rarely seen Comic Relief sketches from Red Nose Day '97 & '99 are included: 'Kylie' & 'The Lost Pilot' along with a fascinating new BBC radio documentary. Not only that but there are dozens of hysterical out-takes, bloopers and unique special features that will entertain for hours!"

You can order Men Behaving Badly: The Complete Collection via Amazon, and check out our review here.

To be in with a chance of winning, firstly make sure you like us on Facebook (or follow us on Twitter)...



...Then complete your details below, using the subject heading "MBB". The competition closes at midnight on Saturday, November 24th. UK entrants only please.

 
 By entering this competition you agree to our terms and conditions, which you can read here.
↧
↧

The Walking Dead Season 3 - Episode 4 Review

November 9, 2012, 10:06 am
$
0
0
Piers McCarthy reviews the fourth episode of The Walking Dead season three...

In many cases there will be one seminal season of a television show. For all the episodes that constitute the label “best ever season”, there is usually one in amongst them all that is pivotal. It may be too early to say but The Walking Dead’s “Killer Within” could be that episode in a season that is arguably the “best ever”.

The last episode moved away from Rick and co’s story and drew attention on Michonne and Andrea and a new community they are invited into. Episode four switches back and forth between these arcs though the expected linkage between has yet to be seen.

“Killer Within” begins with the set-up of a zombie mousetrap where, instead of cheese, a deer carcass is strung up to attract and distract two walkers whilst an unknown figure breaks through the fence of the prison. As one gate is opened, the bloody heart of the deer is placed on the ground – bait for more walkers.

The prison is now officially home for Rick and his family and friends and so a clean-up is underway. This occupies most of Glenn, Daryl, T-Dog and Carol’s time though some attention is given to the two convicts left to live in a cell full of the “ghosts” of old prison-mates. The older, Southern man begs to be let in the group whilst his younger, black companion sees no point trying to bargain with the stern lot of newcomers. T-Dog is a little more open to inviting the pair in, thinking that “those two might actually have less blood on their hands than we do”. Nevertheless, Rick’s rules stand and the convicts are locked up. You often forget that Rick was a police officer and so his perception of criminals is largely distrustful; he tells the story of an boy he once arrested who once acquitted went on to shoot more people, giving credence to his opinion of consideration before care. The Southerner keeps trying to win over Daryl but to no avail, hoping Daryl would allow him to touch up his motorbike in one instance.

Back to Woodbury and Michonne is checking out the area by herself. She still feels perturbed about being under the rule of the mysterious Governor and is analysing the trucks and Humvees supposedly salvaged from the apparent zombie attack on the group of soldiers. As she sees bullets holes embedded in the side doors the Governor appears – she takes her opportunity to question the scenario. He manipulates the moment by praising Michonne and saying how the situation may have been different with her help and knowledge. Despite his efforts Michonne still has her reservations and shrugs off his tall tales and commendations. Back in her room with Andrea she tells her friend of her plan to get to the coast, find a boat and travel to an island. Andrea likes the romantic and possibly safe notion of this plan and decides to join Michonne.

Hershel’s health, meanwhile, has strengthened and he takes to using crutches to move around. Finding his new legs is a slow process but as he walks out into the prison yard he is looked on by all the others. It is a moment of cheerfulness that feels odd and alien to the show (forgetting the camp-fire scene in “Seed”). Some may not experience this uneasiness but for those that do, the shots of smiling faces brings on an anxious sweat. The slight fear you may feel is quite legitimate as soon dozens of walkers begin to flood the prison ground. Hershel is barely back on his feet and Lori is heavily pregnant – these two issues are made worse by the fact that help from Rick, Daryl and Glenn has to wait as they are on the other side of the prison yard. They sprint to their aid but are still too far away to get there in time and Lori, Carl, Maggie, Carol and T-Dog have to take shelter inside. Tension has surmounted in a few sequences so far but this is easily the most nerve-wracking; the jeopardy that so many core characters find themselves is shocking. As if matters couldn’t get worse T-Dog is bit and the prison alarm is raised, bringing walkers in from all surrounding areas.

Andrea says her goodbyes to Merle, though asks him whether he had ever thought about leaving. Andrea is offering to help Merle find his brother and with that and her query he starts to question his time in Woodbury. He goes to the Governor and talks about his wish to find his brother. The Governor continues to be manipulative and carefully shoots holes in Merle’s optimism, trying to advertise the settlement. Merle continues to give ideas of how he’ll find Daryl and the Governor finally states that if he gets more concrete evidence that he will go with him –hopeful that no extra information will come or that Merle changes his mind. Andrea later says her goodbyes to the Governor but decides to stick around for a day or two longer, much to Michonne’s annoyance.

Back with the main story and the alarm is sounding loudly throughout the prison. Glenn finds the lock cut with an axe and Rick and Daryl immediately think it’s the two convicts. The prisoners both vehemently deny it and the younger one offers guidance on how to shut off the alarm and where to find the generator – this earns the both of them a kind of reprieve. Inside the lower depths of the prison Lori, Carl and Maggie take sanctuary in the boiler room where Lori has gone into labour. Maggie tries to help but after finding blood during one of the pushes, realises more help is needed.

The other characters needing help are Carol and T-Dog, especially as the latter has been bit and is ready to turn. Unlike Carl, Lori and Maggie, they have been unable to find a place to hide safely. The walkers trudge through every corridor, making the labyrinth all the more deathly. T-Dog finds an exit and holds back the two walkers covering it in order for Carol to escape. Like I said in the review for episode one, there is something more repulsive about a living person getting ripped apart in the show than a walker. T-Dog’s horrible death includes his neck being bitten into, with the flesh ripped away and a gush of blood following that makes even the more desensitised viewer feel faint. His death may mean something to some fans but in general T-Dog is a weak, undeveloped character that only provides muscle and occasional opinion. The demise of T-Dog would not give the episode the full thwack of drama and so one more character must perish.

If T-Dog could die amid the scratches and snares of the zombies, so could anyone in the prison. Rick, Daryl and the black convict are equally vulnerable when routing their way to generators. As they reach the room they’re looking for the door can’t close with the walkers pounding up against it and as Rick asks for assistance on shutting the power off, only Daryl can hold the door. The walkers could break through is not the major worry though – the swing of an axe only just misses Rick and the one behind all the games is the one Rick left on the prison roofs. Realistically pissed off by the desertion he has tried to kill Rick and his group – successful in part. A close fight ends when the helpful convict shoots his past cell-mate in the head. As the gun still lies square at Rick’s head, Daryl creeps up ready to stab away. Fortunately, the black convict still wants to lend a hand and gives Rick back his gun. Maybe now he and the Southerner will be accepted.

The caesarean that Lori thought she may need becomes a necessity. Lori is decisive that her baby is given its life whilst she loses hers. The relationship between Carl and his parents has lost most of its relevance and so Lori dying in Carl’s arms arguably doesn’t affect you as much you would have thought. As the baby is pulled out by Maggie it looks to be stillborn, adding to the tragedy that Lori died in vain. However, the baby soon lets out a cry and Maggie walks out of the boiler room with it. Carl is left to destroy his mother’s brain, lest she return as a walker. The shot that we hear as Maggie looks to go back for him is more saddening than her goodbye – it is a dilemma for Carl and a horrible choice he has to make. Before we hear the shot we see a flashback to an earlier episode where Rick tells his son how he’ll “never be ready” for the deaths and destruction the new world will bring. It reminds you more of Carl and Rick’s relationship, making the final scene heartbreaking.

As Rick, Daryl and Glenn find T-Dog’s chewed remains they see the exit that Carol escaped through (though they believe her to be dead also after finding only her head-cloth). Led back into the prison yard Rick asks for Lori, Carl and Maggie’s whereabouts. As Hershel and Beth tell them there’s no sign of them the faint cry of the baby immediately gets their attention. Maggie shakily walks out with the baby in her arms, Carl following solemnly behind. As Rick sees Maggie’s teary eyed face and finds no Lori walking behind he realises the worst has happened. This is one of the most devastating sequences in The Walking Dead and Andrew Lincoln and Lauren Cohan’s acting lifts the drama and desolation to new heights. Carl stands silently with watery eyes and Rick looks at him, bubbling “No, no no”. From the description it may not sound too upsetting but watching it does have you welling up – Rick is such a strong character so to see him broken down is harrowing.

It ends on the bleakest note in the series so far. I worry that the next few episodes will revert back to the slow, dreary pace of the second season when that dealt with death. My optimism in the third season does outweigh my pessimism but it’s too hard to tell how the season will now progress. Still, on only the fourth episode we are given a lot to deal with and hopefully the remaining episodes will dole out more interesting, entertaining and evocative material.

Piers McCarthy - Follow me on Twitter.
↧

Mark Millar talks Fox's Marvel Universe

November 9, 2012, 12:47 pm
$
0
0
Mark Millar is certainly a busy man at the moment, with several Millarworld properties in various stages of development - including the currently-in-production Kick-Ass 2 and the forthcoming adaptation of The Secret Service from director Matthew Vaughn - while he's also getting to grips with his new role as creative consultant on 20th Century Fox's various Marvel properties. Still, he's managed to find time to take part in a couple of recent interviews to discuss his plans for Fox's upcoming superhero slate, which currently extends to the X-Men sequels The Wolverine and X-Men: Days of Future Past, along with the proposed Fantastic Four reboot from Chronicle director Josh Trank.

"Fox are thinking, 'We're sitting on some really awesome things here. There is another side of the Marvel Universe. Let's try and get some cohesiveness going,'" said Millar during the latest edition of The Empire Podcast (via ComicBookMovie). "So they brought me in to oversee that really. To meet with the writers and directors to suggest new ways we could take this stuff and new properties that could spin out of it... X-Men feels like a universe by itself; there's so many characters and so many great potential spin-off characters. They asked me to come in and work out a plan, so unfortunately at this point I can't get too specific. I DO have a three to four year plan of where things could go, but you know, I'll be working with guys like Matthew Vaughn [who has since passed on directing duties on X-Men: Days of Future Past, with Bryan Singer his replacement] and Josh Trank and just figuring out how everything can work together and not contradict each other." 

Meanwhile, Millar also elaborated on the studio's strategy to emulate Disney's Marvel Cinematic Universe during a chat with ComicBookResources, explaining that he sees The Wolverine as the 'starting point' for Fox's shared Marvel Universe, as well as touching upon potential future offerings: "You have to remember that Fox grabbed the X-Men back in the '90s because it was the biggest franchise in the world. So X-Force or Cable or Deadpool - all these amazing characters are things we haven't really gotten to yet. X-Force #1 was the second biggest book of all time behind Jim Lee's X-Men #1, so there's an immediate brand recognition to that stuff and a built in fanbase. You go to any convention in the world, and you'll see 20 people dressed as Deadpool. In a lot of ways, these are Marvel's coolest characters, so I want to remind people of that and build on what we already have. I think there's a great foundation, and just from basic conversations, we've come up with ten movies we could do. These things cost $150 million each to make, so we have to pick and choose what we want to do."
↧

The Week in Spandex - Iron Man 3, The Amazing Spider-Man, Kick-Ass 2, Man of Steel, The Dark Knight Rises, Arrow and more

November 10, 2012, 4:31 am
$
0
0
Our weekly round up of the latest news stories from the world of screen superheroes, including Iron Man 3, Guardians of the Galaxy, The Avengers: Earth's Mightiest Heroes, The Amazing Spider-Man, X-Men: Days of Future Past, The Wolverine, Deadpool, Kick-Ass 2, Man of Steel, Heaven Sent, The Dark Knight Rises, Beware the Batman, Arrow and more...

As filming wraps in Wilmington, North Carolina on the first instalment of 'Phase Two' of the Marvel Cinematic Universe, a new - and potentially spoilery - rumour has emerged from Iron Man 3 suggesting that Tony Stark (Robert Downey Jr.) and Rhodey (Don Cheadle) won't be the only ones suiting up to battle The Mandarin (Ben Kingsley) in the Shane Black-directed sequel. According to Brazilian site Omelete (via ComicBookMovie), Marvel executive Simon Philips has apparently confirmed that Pepper Potts (Gwyneth Paltrow) will don her own armor as Rescue, which seems to support comments made by Marvel Studios head honcho Kevin Feige and Iron Man and Iron Man 2 director Jon Favreau during the San Diego Comic-Con, with the latter stating "we almost did it a few times; we talked about it a lot. I think we all share your enthusiasm for that, and we all want to see Gwyneth kick a little ass..."

...According to ComicBook.com, RDJ's Tony Stark could also make an appearance in 2014's Guardians of the Galaxy. It's thought that Iron Man 3 will contain both a mid-credits and post-credits scene, with speculation suggesting that one of them will link to the upcoming outer space ensemble; if true, it would certainly add some star power to the line-up of the 'big space epic' for the general movie-going public, but with Robert Downey Jr.'s current contract with Marvel Studios set to expire with next year's solo sequel, his inclusion in Guardians of the Galaxy would appear to be dependent on the actor agreeing a new deal to continue in his role as the Armored Avenger...

...Switching to Marvel's animated output for a moment and The Avengers: Earth's Mightiest Heroes comes to an end this Sunday as Disney XD prepares for the arrival of Avengers Assemble early next year, and the creators of the show have put together a video thanking fans for their support over the two seasons, which you can check out over at Marvel.com...

...Following on from the recent news that Jamie Foxx (Django Unchained) is being lined up to join Andrew Garfield (Peter Parker / Spider-Man), Emma Stone (Gwen Stacy) and Shailene Woodley (Mary Jane Watson) in the cast of The Amazing Spider-Man 2, Marvel legend Stan Lee took a moment to pitch his next cameo to director Marc Webb over at Collider. Meanwhile, the promote the home-entertainment release of The Amazing Spider-Man, Sony Pictures has released the screen test between Andrew Garfield and Emma Stone, as well asa Blu-ray featurette detailing the search for the next Peter Parker; The Amazing Spider-Man is now available on DVD and Blu-ray in North America, with a UK release set for November 26th...

...With Bryan Singer now confirmed as stepping back into the director's chair as Matthew Vaughn's replacement on the upcoming X-Men: First Class sequel X-Men: Days of Future Past, The Geek Files has reported that cameras will start to roll on the latest chapter of the X-Men saga in April 2013. So far, only James McAvoy (Professor X), Michael Fassbender (Magneto) and Jennifer Lawrence (Mystique) are confirmed as reprising their roles from First Class, so expect to hear plenty of casting news in the coming months...

...Sticking with Fox's Marvel output for a moment, and creative consultant Mark Millar has spoken about the studio's plans to craft its own cohesive Marvel Universe, stating that he sees the upcoming Hugh Jackman-headlined X-Men spin-off The Wolverine as the "starting point" of a "three to four year plan" and that early discussions have taken place about ten possible movies that could be made, including the likes of X-Force, Cable and the long-rumoured Deadpool solo movie from director Tim Miller...

...In addition to his Fox duties, Millar also has several of his own Millarworld properties in various stages of movie development, not least the upcoming Kick-Ass 2, and the comic book writer has taken to the forums of his official site to provide a set report from the Jeff Wadlow-directed sequel, while some new set photos have emerged showing Chloe Grace Moretz taking on a couple of thugs in full Hit Girl costume, which you can view over at The Daily Mail...

...Ahead of its release next June, Warner Bros. and Legendary Pictures have announced that the hotly-anticipated Superman reboot Man of Steel will receive a 3D post-conversion, with director Zack Snyder stating that the film has been designed to capitalise on the 3D format, although thankfully "great measures [have been taken] to ensure the film and the story come first." Meanwhile, in other Man of Steel news, Michael Shannon has confirmed to VH1 that his character General Zod won't utter the iconic line "kneel before Zod"... 

...Last week it was reported that Guillermo del Toro was interested in bringing a version of the Justice League Dark to the screen with a supernatural superhero ensemble entitled Heaven Sent, and the filmmaker has opened up about the potential project in an interview with MTV Geek: "When somebody asked me about Justice League… I'm not involved in Justice League. I am discussing… I've been discussing with the fans and I've been very, very open about how much Swamp Thing was key when I was a kid. Comics in Mexico came on the first two days of the week. Around Tuesday and Wednesday I would go to the newsstand on my bicycle and I would get Swamp Thing every time it was available and I loved Jack Kirby's Demon. I love Constantine and all that. You know, I've been pursuing doing something with them for many, many years. Hopefully it'll come to pass. But we are still just discussing..."

...Ahead of its home-entertainment release next month, Warner Bros. has released a new DVD and Blu-ray trailer for the epic conclusion to Christopher Nolan's Batman saga, The Dark Knight Rises, which you can watch here. The blockbuster sequel hits shelves on December 3rd in the UK, with a North American release the following day...

...The Dark Knight's live-action future looks a little uncertain at this point, but Batman fans still have plenty to look forward to next year in animated form, with Warner Home Entertainment announcing that Batman: The Dark Knight Returns, Part 2 will arrive on DVD and Blu-ray on January 29th, 2013, with a voice cast that includes Peter Weller (RoboCop) as Bruce Wayne / Batman, Ariel Winter (Modern Family) as Carrie Kelley / Robin, Michael Emerson (Lost) as The Joker and Mark Valley (Human Target) as Clark Kent / Superman. The Dark Knight is also set to return to TV screens in early 2013 with the CG-animated series Beware the Batman from producer Glen Murakami (Batman Beyond); the new show will see Anthony Ruivivar (Third Watch) lending his voice to the Caped Crusader, and you can check out some new artwork from the upcoming series here...

...And finally, GreenArrowTV has got its hands on a gallery of new images from episode 7 of The CW's Arrow, which introduces the character of Helena Bertinelli, a.k.a. The Huntress (Jessica De Gouw), while Entertainment Weekly posted a sneak peek clip from November's upcoming episodes. Meanwhile, it's been revealed that Oliver Queen's (Stephen Amell) Rogues Gallery is set to expand with a couple more familiar faces from the pages of DC Comics, with IGN revealing that Ben Browder (Farscape, Stargate SG-1) has been cast as Ted Gaynor and TV Line reporting that a version of Count Vertigo is also will feature as "Oliver's deadliest adversary to date."

Holy Franchise, Batman! Bringing the Caped Crusader to the Screen - Available now via Amazon.co.uk and Amazon.com.

Gary Collinson

↧

Several directors say "Nooooo!" to helming Star Wars Episode VII

November 10, 2012, 9:04 am
$
0
0
With Disney and Lucasfilm having secured a writer for the upcoming Star Wars Episode VII in Academy Award-winner Michael Arndt (Little Miss Sunshine, Toy Story 3), the big question now is, just who will direct the latest instalment in the Star Wars saga? From the moment Disney made the shock announcement that a new trilogy was in the works, a host of big name directors have found themselves mentioned as potential candidates, but over the past couple of days several filmmakers have moved to distance themselves from the job.

During the premiere of his latest film Lincoln, George Lucas' good buddy Steven Spielberg responded to a question from Access Hollywood about the possibility of him directing Episode VII, stating "No! No! It's not my genre. It's my best friend George's genre." Along with Spielberg, J.J. Abrams was named as one of three filmmakers set to receive a copy of Arndt's treatment (the other being Brad Bird), although the Star Trek Into Darkness director has subsequently told HollywoodLife: " "I frankly feel that – I almost feel that, in a weird way, the opportunity for whomever it is to direct that movie, it comes with the burden of being that kind of iconic movie and series. I was never a big Star Trek fan growing up, so for me, working on Star Trek didn't have any of that, you know, almost fatal sacrilege, and so, I am looking forward more then anyone to the next iterations of Star Wars, but I believe I will be going as a paying moviegoer!"

Speaking to The Los Angeles Times, Zack Snyder (Man of Steel) revealed that "I don't think I'd be interested in [directing Episode VII]... I'm a huge Star Wars fanatic. I just think doing [Episodes] Seven, Eight and Nine is just a slippery slope. It's a whole other mythological experiment I'm excited to see, but it's a lot of effort." Meanwhile, Quentin Tarantino (Django Unchained) went one step further, telling EW that he "could so care less" about the new movies, before expressing his displeasure over the continuation of the saga: "No sorry. Especially if Disney's going to do it. I'm not interested in the Simon West [Con Air, The Expendables 2] version of Star Wars." In fairness, I don't think QT would be top of Disney's shortlist for Episode VII anyway, unless Arndt's treatment calls for drawn out twenty-minute long scenes of R2-D2 and C-3PO hanging about the New Republic Senate chambers dropping pop culture references...

So, with Spielberg, Abrams, Snyder and Tarantino all out of contention, who would you like to see slipping into the director's chair for Star Wars Episode VII?
↧
↧

Five Essential... War Films

November 11, 2012, 2:02 am
$
0
0
Helen Murdoch presents her five essential war films…

With our poppies pinned firmly to our coats, it’s the time of year where we remember the lives lost through war. War has always gripped cinema goers, whether through battle scenes or emotional tales of adversity and so on. It is a diverse genre that has created some of the best cinema over the last 100 years. Here's a selection of essential war films...


The Eagle Has Landed (1976, dir. John Sturges)

Although not a standard battle-laden World War II film, The Eagle Has Landed is a gripping thriller full of exemplary performances from Michael Caine, Robert Duvall and Donald Sutherland.  The story follows Caine’s German Officer Colonel Steiner as he is assigned to abduct Winston Churchill. Under the guise of Polish soldiers training in a small English town, the film is a taut thriller and a superbly alternative war film. The Eagle Has Landed is usually not counted as one of the greatest war films, but it is expertly crafted from Jack Higgins’ seminal novel and is essential viewing.





Saving Private Ryan (1998, dir. Steven Spielberg)

In contrast to the subtleties of The Eagle Has Landed, Saving Private Ryan is one of the best war films of the last 15 years. It is by no means a perfect film, but it is classic Spielberg and the subject matter is treated with such dignity and grace that it’s impossible not to be bowled over by it. From the visually stunning beach landing through to the emotional crux, it doesn’t hold back on the emotional nature of war and sacrifice. Boasting a cast including Tom Hanks and a pre-Bourne Matt Damon, as well as a wealth of acting talent, Saving Private Ryan is the quintessential modern war film.





The Great Escape (1963, dir. John Sturges)

A Sunday afternoon TV staple, The Great Escape is the war film everyone thinks of around Remembrance Day. Whilst being a phenomenal film from start to finish, there is a clear reason why this film has endeared for so long – hope. Hope is the key message throughout and the idea that the POWs can have hope in such a desperate time is a feeling that still resonates today. McQueen, Attenborough and Garner make for intense viewing, and they’re supported by a superb cast. With Remembrance Day and Christmas fast approaching, expect to see this film on again.





Flags of our Fathers & Letters from Iwo Jima (2006, dir. Clint Eastwood)

Although technically two separate films, Clint Eastwood’s telling of the battle of Iwo Jima from both the American and Japanese perspective is intense viewing. Flags of our Fathers was released first, followed then by the all-Japanese Letters. Flags follows 6 American soldiers and explores their camaraderie throughout the battle. Flags is an interesting exploration of the American ideals but Letters from Iwo Jima is the stronger of the two. It explores a perspective that is largely ignored and by doing this, Eastwood creates characters who feel more real than the American counterpart. By making these two films, Eastwood was incredibly brave for touching on a perspective that many Americans didn’t feel was appropriate. What he’s created is a double feature that any war film fan must watch.


Schindler’s List (1993, dir. Steven Spielberg)

Taking a different view of war, Spielberg’s emotionally engaging Schindler’s List explores the Holocaust and doesn’t shy away from the horrors that took place. Although it is a Hollywood view of the Holocaust and not as in depth as say Shoah, Schindler’s List is honest film making at its best. War films should make the audience uncomfortable to a degree, and this film does that from the off. With unflinching brutality we see the persecution of the Jews and Schindler’s (a career best Liam Neeson) desperation to save as many as he can. When it boils down to it, Schindler’s List is about humanity, whether it’s the amount of respect for it that Schindler has, or the complete disregard that Ralph Fiennes’ Amon Goeth has.



Honourable Mentions

Apocalypse Now (1979, dir. Francis Ford Coppola)

A retelling of Heart of Darkness, Francis Ford Coppola’s Vietnam war film is a gritty exploration into the psyche of war. Marlon Brando terrifies and Martin Sheen is at his best as the alcoholic Captain Willard sent to find him. With stunning visual effects and a twisted story, Apocalypse Now is a war film with a difference.


The Thin Red Line (1998, dir. Terrence Malick)

Terrence Malick is never one to tell a story simply (take The Tree of Life as an example) and with The Thin Red Line he provides an alternative view of the conflict of Guadalcanal during World War II. Boasting a superb cast, The Thin Red Line subtly explores conflict and the essence of war.


Platoon (1986, dir. Oliver Stone)

Martin Sheen has Apocalypse Now and Charlie Sheen has Platoon. Oliver Stone’s brutal war film explores the loss of innocence during war and the moral crisis that every soldier must face. The Vietnam War proved fruitful in producing phenomenal cinema, and Platoon is breath-taking to watch.


Enemy at the Gates (2001, dir. Jean-Jacques Annaud)

Enemy at the Gates isn’t a perfect film (why does Ed Harris have his normal accent?), but it is a great film to watch; from the opening battle through the epic showdown it doesn’t let up. Based on real events, Enemy at the Gates turns a world war into one man versus another and personalises the events.


Munich (2005, dir. Steven Spielberg)

Spielberg does love his war films! With Munich he chose to explore the aftermath of Black September and the 5 men tasked with taking the lives of those responsible. Although it is overlong, it is engaging and this is due to the performances from Eric Bana, Daniel Craig, Ciaran Hinds and so on.



Agree? Disagree? We'd love to hear your comments...

Helen Murdoch
↧

Giveaway - Win Flight of the Navigator on Blu-ray

November 11, 2012, 5:57 am
$
0
0
The action-packed 80s family sci-fi adventure Flight of the Navigator makes its UK Blu-ray debut on Monday, November 19th, and to celebrate the release we have two copies of the film to give away to our readers courtesy of the fine folk at Second Sight Films.

Read on for a synopsis and details of how to enter the competition...

"The year is 1978 and 12-year-old David Freeman is knocked unconscious while playing. He wakes up and discovers it’s now 1986 and he’s been missing for eight years. NASA believes he’s been abducted by aliens and want to use him for their research. But with the guidance of a strange unseen entity he discovers a hidden spaceship and with the help of MAX the computer sets off on an incredible mission to get back to the past where he belongs. "

To be in with a chance of winning, firstly make sure you like us on Facebook (or follow us on Twitter)...



...Then complete your details below, using the subject heading "NAVIGATOR". The competition closes at midnight on Saturday, November 24th. UK entrants only please.

 
 By entering this competition you agree to our terms and conditions, which you can read here.
↧
Search

Giveaway - Win Short Circuit on Blu-ray

November 11, 2012, 6:05 am
$
0
0
The classic 80s sci-fi comedy Short Circuit comes to Blu-ray for the very first time in the UK on Monday, November 19th, and to celebrate the release, we have two copies to give away to our readers courtesy of the lovely people at Second Sight Films.

Read on for a synopsis and details of how to enter the competition...

"An experimental military robot escapes after being struck by lightening, giving it human intelligence. He escapes and finds a home with madcap Stephanie Speck (Ally Sheedy), who believes he is an alien, but hot on his trail are scientists Newton Crosby (Steve Guttenburg) and his assistant (Fisher Stevens), who must get to their creation before the army, who plan to put Number 5 out of service permanently."

To be in with a chance of winning, firstly make sure you like us on Facebook (or follow us on Twitter)...



...Then complete your details below, using the subject heading "SHORT CIRCUIT". The competition closes at midnight on Saturday, November 24th. UK entrants only please.

 
 By entering this competition you agree to our terms and conditions, which you can read here.
↧

Vote for Films of the Future, Today!

November 11, 2012, 6:11 am
$
0
0
Commenting on the Critics with Simon Columb...

Neal Gabler, for The LA Times, writes about how the Star Wars and Marvel deals from Disney says much more about the industry...

"It used to be that the movie created the brand, which is exactly how George Lucas built his empire. Now the brand creates the movie. And it used to be that all the merchandise was ancillary to the movie. Now the movie is ancillary to the merchandise. The holy grail of Hollywood has always been trying to find a way to make movies that sell themselves without the movies necessarily having to be any good. With the acquisition of Marvel and now of Lucasfilm, Disney may have finally found the grail. You don't need imagination or art. All you need is a brand."

Read the full article here.

Unfortunately, Gabler is right on many levels. Branding - or using EP (Established Property) to determine sales - has become the norm in Hollywood; a safety net to ensure success. Or at the very least, a safer bet than an unknown property. This week, another study in The Guardian, highlights how a theory may have been developed whereby the amount of edits and changes to a Wikipedia article can inform studios, months before a film's release, whether it will be successful or not. A brilliant article by Alok Jha, it supports what Hollywood believes that, the more prior awareness of a film you have - and the more you have invested in the brand - the more likely you are to pay for a ticket to watch it.

Personally, I know there is a Teenage Mutant Hero Turtles - or Ninja Turtles - film in development. Chances are, I won't watch it at the cinema. Considering the film has gone through significant changes, it is one of the few films I know of, due for a release in 2014. It is an established property, it gains more coverage on the internet because of this, and therefore it has an audience waiting in the wings to watch it. If I start hearing good word-of-mouth... if I hear that the film is 'different' to the usual films ... or it pays homage to the previous films in a nostalgic manner... then maybe the ticket will be bought. The only reason I would know of this information is through coverage on the internet or through friends. And I bet Michael Bay and co. will do anything to ensure that some type of positive word-of-mouth will spread and reach people with a passing interest like me. And, chances are, the more I hear about it, the more I will re-check Wikipedia to find out whether the positive press is real or not - scrolling down to 'Critical Response'.

We are in a time where cinema is an art form that has been around for over 100 years. Many films have come and gone - even James Bond is 50 years old, and remains successful. There is an importance to branding and, as an audience, we only have ourselves to blame. But we don't need to apologise for it. As much as I would like to discuss the latest Jacques Audiard film, or Michael Haneke's Amour; whether I want to criticise Children of Men or whether I want to argue the pros of End of Watch, it doesn't matter in this argument - because I'll probably watch Star Wars Episode VII. I'll also be interested to see what happens next to the dinosaurs on Isla Nublar and Isla Sorna. I'd love to see Indy fight again and I bought the Blu-ray boxset of all five X-Men films so I can rewatch them in preparation for X-Men: Days of Future Past. I'm just as bad as anyone else - and my ticket-purchase for art-house and indie-films is almost-exclusively dictated by critics and friends recommendations.

But there is something we can do to stop the re-release and dependence of using EP. First off we need to accept that bleeding-dry established properties which are aimed at children is a given. Children contribute a huge amount to cinema ticket sales. These are often impulsive as parents will take children to the cinema regularly - often with the rest of the family, earning multiple ticket sales. Seriously, compare a mediocre 12-rated film with a mediocre kids film - and the difference is astronomical. Fact remains, kids aren't too picky and will watch anything with goggly eyes and a horn-sound thrown in. Shrek 7 and Toy Story 9, whether we like the films or not, will always gain a huge amount of money because kids will want to watch it.

Secondly, teenagers are a little more aware. Jurassic Park III was released in 2001 (so, I was 16 / 17) and, as a die-hard fan of the series, surprisingly, I didn't watch the third film at the cinema. Jurassic Park remains my favourite film ever (and yes, I probably will see it in 3D) but alarm-bells were ringing when the film was released. No Spielberg. Only 1hr 30mins run time. The ridiculous metallic logo. The 'worse-than-a-T-Rex' creature. You could see it coming a mile-off.

We have to be more savvy about the nature of marketing and publicity. We know that sequels, prequels, sidequels and spin-offs are going to be made. But you can tell whether it will be weak - Battleship, X-Men Origins: Wolverine and Sherlock Holmes 2 are testament to that. But you can also tell when it will be strong - The Dark Knight Rises, Skyfall and The Avengers prove the other side of the argument.

Simply put - don't pay for it. If you know it's a cash-in then hold back - wait a few weeks. Studios dictate that opening weekend sales are what determines success and if we, time and time again, watch the remake of The Texas Chain Saw Massacre opening weekend and then complain about how "it's nothing like the original", then we only have ourselves to blame when they make a sequel. If you can see it is shamelessly assuming your ticket purchase on the characters, worlds and brand that have already been established, don't pay for it. You ticket purchase means much more than £10 - your ticket purchase is a vote for brand-centric filmmaking.

Simon Columb
↧
↧

James Bond intrigues the North American box office with Skyfall

November 11, 2012, 12:55 pm
$
0
0
The monster that is Skyfallfinally hit North American cinemas this week after an astounding run in Europe, Asia, and the UK.  The latest Bond film raked in $87 million in its opening weekend.  Reviews have been glowing and audiences have been singing the praises of Daniel Craig in the most personal and emotionally complex Bond film to date.  Skyfall is on its way to becoming the most successful film in the fifty year history of the series.

The Bond revival that started with Casino Royale had been qualified as a success before, but Skyfall is propelling the franchise into previously uncharted territory, putting James Bond in the earning categories of populated by superheroes, Transformers, and Jedi.

Wreck-It Ralph held strong in its second weekend with an impressive week-over-week hold, bringing in $33 million.  Give Disney credit for continuing to develop their in-house animation projects which had always been viewed as the bastard red-headed stepchild to the critically and commercially beloved Pixar.  The internal division has slowly upped their game and put out films capable of going toe-to-toe with Pixar's annual output.

Flightcontinues to soar.  The Denzel Washington drama sold $15 million worth of tickets.   Thanks to a modest budget and superb accolades from critics and audiences, this one will be a win for everybody involved.  Perhaps we will be spared from any more dead-eyed CG animated movies from Zemeckis.

Argohas been on the same trajectory as Flight, winning over audiences with great performances and quality storytelling continuing to hang out in the top five with another $6.5 million in tickets.  Meanwhile Taken 2 has become the little action thriller that won't die.  What was written off as a throwaway sequel has nearly matched the take of the original.

In limited release, Steven Spielberg's Lincoln had a strong debut.  The Oscar-winning orgy cleared almost $1 million at 11 theaters.  Even without vampires, this particular take on Abraham Lincoln should do very well when it goes wide next week.

Speaking of vampires (and going wide) Kristen Stewart leads the sexy supernatural cast of Twilight into their final installment, The Twilight Saga: Breaking Dawn - Part 2.  I don't think I've been this happy to see a series end since watching the seventh Police Academy movie.  See you next week.

Here's your top films for North America...

1. Skyfall
Weekend Estimate: $87 million

2. Wreck-It Ralph
Weekend Estimate: $33 million; £93 million total

3. Flight
Weekend Estimate: $15 million; $47 million total

4. Argo
Weekend Estimate: $6.5 million; $85 million total

5. Taken 2
Weekend Estimate: $4 million; $131 million total

Anghus Houvouras
↧

Rian Johnson on whether he'd be interested in the Batman reboot

November 11, 2012, 2:34 pm
$
0
0
With the release of The Dark Knight Rises bringing the curtain down on Christopher Nolan 'Dark Knight Trilogy' earlier this year, Warner Bros. is now faced with the unenviable task of finding a new director to pick up the mantle of the Bat and launch the next chapter of The Dark Knight's illustrious screen career.

Naturally there have been lots of names thrown about as potential candidates to succeed Nolan - one of those being Rian Johnson, writer-director of Brick, The Brothers Bloom and this year's hit sci-fi action thriller Looper; Flickering Myth's Martin Deer has been chatting with the acclaimed filmmaker for an interview we'll be posting tomorrow, and took the opportunity to ask whether he'd be interested in taking on the reins of the Batman franchise for the eventual reboot:
Martin Deer:  Well we've mentioned Batman and I am a huge Batman fan. Hypothetical situation - Warner Bros. rings you up, next Batman movie, would you do it?

Rian Johnson: I like that hypothetical.  You know I love Batman, I didn't grow up reading the comics but Batman movies, when that first Tim Burton Batman movie came out that kind of defined, in kind of like a weird way for the generation that I was in, that first Batman movie in a way it defined what a blockbuster was for me, more so than any of the 70s movies.  When that first Batman movie hit it was like this cultural volcano that defined what the superhero blockbuster was in a way that was just completely drew me in as a kid.  So Batman is definitely the one superhero movie franchise that I'm 100% just completely in love with, and I love [Christopher] Nolan's so much man.  Right now I'm just focusing on doing my own thing.  And that hypothetical that you mentioned has so many variables to it in terms of what kind of movie they're looking to make and all of that so, you know, that call hasn't happenedand in the meanwhile I'm not gonna sit by the phone, I'm just gonna keep writing my own stuff.
Seems like a great choice to us. Come on WB, pick up the phone...

Be sure to check back tomorrow for the full interview, where Rian discusses his feature debut Brick, this year's sci-fi action hit Looper, the filmmaking process, and working with Joseph Gordon-Levitt.

Holy Franchise, Batman! Bringing the Caped Crusader to the Screen - Available now via Amazon.co.uk and Amazon.com.
 
↧

Movie Review - Silver Linings Playbook (2012)

November 11, 2012, 11:41 pm
$
0
0
Silver Linings Playbook, 2012.

Written and Directed by David O. Russell.
Starring Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker and Julia Stiles.


SYNOPSIS:

After being discharged from a mental institution, a former teacher moves back in with his family and attempts to get back together with his ex-wife. His problems seemingly escalate when he meets a troubled dancer who lives down the road.


Like The Fighter before it, Silver Linings Playbook is a movie that focuses on the dysfunction of a family who are heavily integrated into a local sporting tradition. Unlike The Fighter, it’s not focused on characters struggling with the weight of winning world titles or Super Bowls. It is, instead, all about characters just trying to survive within the confines and comforts of their own homes.

Subject matter, tone and aesthetics can also be compared to director David O. Russell’s previous effort, as well as other movies he’s made (though from what I’ve heard about Spanking the Monkey, Russell’s definitely made a move toward crowd pleasing). Another aspect David O. Russell seems to bring out in stories is the everyday humour created by these clashes. How do families stick together when they fight so?

Silver Linings Playbook is about family. Pat (Cooper) has just been released from a mental institution. He makes it home trying his hardest to see the bright side of life, despite his entire world being torn apart by his own actions. His wife left him, he’s lost his job, he’s been prescribed medication he doesn’t want to take and his family are as worrisome and clingy as leather trousers.

In the process of trying to get back to a normal routine, he meets Tiffany (Lawrence), a woman who while not deranged, is certainly struggling with her own problems. Together, they must participate in a dance competition. Pat’s taken out of his comfort zone but, in a move that’s a little cliché, it is only from moving out of his comfort zone that he can learn about and become the best version of himself.

While the premise for the finale isn’t original (to save the [blank], they must do well in a dance competition), it’s handled in a majestic, dramatic way that actually serves the plot as opposed to being an excuse for pretty people to dance their troubles away. That’s what the best directors do, taking something familiar and putting a new spin on it. How do two decidedly amateur dancers get their win in a competition full of professionals? The struggles don’t come from the actual dancing, not really. They come from the clash between Tiffany and Pat’s father.

Pat Sr. (de Niro) possibly represents some of the things republicanism stands for, and how it is perceived in the modern day. He’s a little uptight, a little short with the subject of change and (this is a metaphorical stretch, by the way) his money is his own, to do with as he likes.

Pat Sr.’s objections to his son’s behaviour, and the constant bickering and fighting that goes on between them both, seem to be a reaction against the republican way of thinking. Why must everyone be convergent to Pat Sr.’s way of thinking?

Pat doesn’t have a filter between what he thinks and what he says. While this sounds like the lead up to those obnoxious sitcom characters everyone’s supposed to love for their rebellion, in this case it leads to realistic actions and reactions. But, just like the things Pat says, the film itself can sometimes be a little on the nose. The film is also about how people shouldn’t necessarily conform and while this isn’t the most original theme or subject to talk about, it would perhaps work better if it spoke for itself. That’s probably the biggest problem that gets in the way of Silver Linings Playbook becoming an instant classic and a still-great film.

The movie is full of staples that make David O. Russell’s films accessible and funny and would be a solid entry into anyone’s filmography. The performances he gets from his cast are what raise the movie to a higher level. Bradley Cooper demonstrates the mixture of fast talking charm and humour he’s shown glimpses of, while showing more range as Pat struggles with his positive mantra.

Jennifer Lawrence gives Tiffany the perfect balance of steadfast calm and outlandish energy, probably booking herself a place in the Academy Award nominations. Robert De Niro comes out of what people see as his recent funk (see That Last Focking Movie) to give a nervy, anxious performance. Everyone plays their parts well (and it’s nice seeing Chris Tucker do something other than open his eyes wide and yell at everyone).

Ultimately, Silver Linings Playbook is a solidly directed movie, with a range of fantastic and at times understated performances. The story and narrative seem to happily help the characters along in their respective journeys, giving the film an almost holiday feel. Expect to see it vying for the major awards next year.

Flickering Myth Rating - Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Matt Smith
↧
Viewing all 7138 articles
Browse latest View live
Search