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A licensing sizzle reel reveals concept art from the RoboCop remake

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It's fair to say that Brazilian filmmaker Jose Padilha's (Elite Squad) forthcoming remake of the 80s sci-fi classic RoboCop has been dividing fans of the franchise, as evidenced by the mixed reaction to the spy photos giving us our first look at the newly-redesigned Robo-suit worn by Joel Kinnaman's (The Killing) Alex Murphy. While some fans are looking forward to a fresh new take on the material, others have been highly critical of the changes - and indeed, the entire idea of remaking Paul Verhoeven's 1987 original.


So, if you fall under the latter category, or you're still on the fence about the reboot, then perhaps a newly-released licensing 'sizzle reel' will help to win you over. The four-minute video features a host of concept art, along with comments from Padilha, Kinnaman, producer Eric Newman and VFX supervisor Jamie Price. Oh, and there's also confirmation that RoboCop's suit will evolve throughout the film, beginning with an updated version of the 1987 design before shifting to the black suit we've seen in the spy photos.

Update - Unfortunately the video has now been removed, but you can check out some images of the concept art featured in the sizzle reel here:







Regardless of RoboCop's wardrobe, one thing's for certain - Jose Padhila has certainly assembled a solid cast for his English-language debut, with Kinnaman joined in the $100-budgeted remake by Gary Oldman (The Dark Knight Rises), Samuel L. Jackson (The Avengers), Abbie Cornish (Sucker Punch), Jackie Earle Haley (Lincoln), Jay Baruchel (Cosmopolis) and Michael Keaton (Batman). We'll find out if the film lives up to the quality of the talent involved when RoboCop hits cinemas on February 7th, 2014...

Anime Giveaway - Win Fullmetal Alchemist: Brotherhood OVA Collection on Blu-ray

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Amazing secrets and startling facts are exposed for the first time in the Fullmetal Alchemist: Brotherhood OVA Collection, a new assortment of stories set in never-before-seen corners of the FMA universe.

You thought all the tales were told. The Fullmetal Alchemist: Brotherhood OVA Collection offers proof: You were wrong.

Win a copy to discover the truth for yourself…Fullmetal Alchemist Brotherhood 4 OVA Collection is available to buy from Monday 19th November, and to celebrate we have a copy of the Blu-ray to give away to one lucky reader courtesy of the lovely people at Manga Entertainment. Read on for a synopsis, and details of how to enter...

"Join Ed and Al as they chase rumors of successful human transmutation into a web of shocking family drama and lies. Sneak a glance at hidden sides of Winry and Hawkeye's personalities. Survive the frigid north with a young Izumi Curtis as she fights to gain a deeper understanding of alchemy. Explore the legendary friendship shared by Mustang and Hughes and watch them grow from military school rivals into hardened brothers transformed by the horrors of the Ishvalan War."

Order Fullmetal Alchemist: Brotherhood OVA Collection 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 "FULLMETAL". The competition closes at midnight on Saturday, December 1st. UK entrants only please.

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

Comic Book Review - Batman #14

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Martin Deer on the latest issue of Batman...

Last month Batman #13 sent shock waves around the comic book world and the world of Gotham City as The Joker finally returned to make his first appearance in the New 52.  Scott Snyder told one of the best single issues I have ever read last month - as I'm sure many would agree or find hard to argue - and we have all been waiting anxiously to find out the fate of Alfred Pennyworth, last seen staring Joker straight in the arms as a crowbar inched towards his face.

Batman #14 is another terrific issue. Scott Snyder is weaving what could potentially become one of the greatest Joker stories ever told.  It's here The Joker reveals his plans, and tells Batman why he really, honestly, loves him so.

The Joker has never seemed crazier, never seemed more unhinged, never seemed so, Joker.  Laying it all out before The Batman, The Joker tells him how he sees himself in his little twisted relationship; The Court Jester to King Batman in the Kingdom of Gotham.  Here to deliver the bad news like a faithful servant.  The dynamic between The Joker and Batman is like no other in the world of fiction, no matter the medium; they are one of a kind, and Snyder knows this relationship well, tapping in to the very core of what makes The Joker tick. 

This time he's several steps ahead of Batman, he knows his routine, he knows his playbook, and it unnerves you to your soul as he begins to take out the Bat-family one by one.

Batman #14 is also a gorgeous looking issue. Greg Capullo, Jonathan Glapion and FCO Plascencia combine to produce a visual feast, with the isolation that Batman feels in the latter part of the book really visualised through big open spaces on the page.

The very personal nature of the Joker's attack is expressed in some very heart-string pulling moments during a conversation between Batman and Nightwing, and Batman and himself.  I found myself in both of those situations really feeling for Bruce, as he deals with the most personal threat in years.  The stakes just keep building in this issue, with no end respite - only the very real knowledge that the worst is yet to come.  Snyder is getting very good at building the tension and suspense; it's captivating.

Some interesting things came to light in this issue, and I am most intrigued to find out what this secret is of Batman's that only The Joker knows. It's likely to be game changing given the revelations that occurred in this book.  It's not often you wish your life away, but with Snyder's current run on Batman, next month can't come soon enough.

Martin Deer

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

The Week in Spandex - Thor: The Dark World, The Wolverine, The Amazing Spider-Man 2, The Dark Knight Rises, Man of Steel and more

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Our weekly round up of the latest news stories from the world of screen superheroes, including Thor: The Dark World, Iron Man 3, Guardians of the Galaxy, S.H.I.EL.L.D., AKA Jessica Jones, The Wolverine, X-Men: Days of Future Past, The Amazing Spider-Man 2, The Dark Knight Rises, Man of Steel, Green Lantern 2, Arrow and more...

The cast and crew of Marvel Studios' Thor: The Dark World have been filming around the University of Greenwich this past week, and thanks to a selection of spy photos, we've now had our first look at the new villain Malekith the Accursed, along with his army of the Dark Elves of Svartalfheim. Judging from a close-up shot of Malekith, who is portrayed by British actor Christopher Eccleston (G.I. Joe: Retaliation), it would seem that his final appearance will be enhanced via some CGI during post-production, but the spy photos give us a good idea of what Chris Hemsworth's God of Thunder will be going up against in Alan Taylor's (Game of Thrones) sequel, and if you'd like to get a preview of a scrap between Thor and Malekith, check out a selection of images and video here...

...Rumours have emerged this week about the possible inclusion of one of the founding members of The Avengers in the upcoming Iron Man 3, with ComicBook.com reporting that Stephanie Szostak (R.I.P.D.) could be playing Janet van Dyne, a.k.a. the Wasp. It's been said previously that the end credits of Iron Man 3 will be used to set up Edgar Wright's Ant-Man, so it's entirely possible that Wasp could make an appearance, although ScreenRant are suggesting Szostak's character may be "some incarnation of Whitney Frost (Madame Masque)", a former secretary of Tony Stark's with a secret identity and connections to the criminal underworld....

...During an interview with Newsrama, comic book artist Steve McNiven has spoken about next February's Marvel NOW! launch, stating that there could be some similarities between the redesigned Guardians of the Galaxy and their big-screen counterparts in director James Gunn's (Super) forthcoming feature adaptation: "My approach to the designs was to match them to the characters and to update the look. Double-breasted jackets and outer space adventure don't really fit these days... I have been in touch with the movie studio guys and we are all tossing design ideas around, so hopefully we can have some unity between the movie and comic looks." So, will that 'unity' also stretch as far as including Tony Stark on the Guardians roster, as rumoured last week..?

...Turning to Marvel's small screen output and two new recruits have joined Clark Gregg's Agent Coulson and Ming-Na Wen's (Stargate Universe) Agent Melinda May in the cast of the upcoming Joss Whedon-directed S.H.I.E.L.D. pilot, with Elizabeth Henstridge (Hollyoaks, The Thompsons) and Iain De Caestecker (16 Years of Alcohol, Coronation Street) signing on to portray Agents Gemma Simmons and Leo Fitz, collectively known as 'Fitz-Simmons'. Meanwhile, Twilight screenwriter Melissa Rosenberg has expressed her hopes thatthe Alias adaptation AKA Jessica Jones may still have a future outside of ABC's schedule: "I did the Jessica Jones pilot, but [ABC] didn't pick it up to pilot. The studio still owns it, and I think we're going to shop it around to some other outlets to see..."

...Shifting to 20th Century Fox's upcoming Marvel slate, and a new synopsis has emerged for Hugh Jackman's latest X-Men outing, The Wolverine, which is set to arrive in cinemas on July 26th, 2013: "Based on the celebrated comic book arc, this epic action-adventure takes Wolverine, the most iconic character of the X-Men universe, to modern day Japan. Out of his depth in an unknown world he faces his ultimate nemesis in a life-or-death battle that will leave him forever changed. Vulnerable for the first time and pushed to his physical and emotional limits, he confronts not only lethal samurai steel but also his inner struggle against his own immortality, emerging more powerful than we have ever seen him before..."

...In other X-Men news, Bryan Singer has been tweeting about his prep for 2014's X-Men: Days of Future Past, confirming that he's set to reunite with X-Men and X2: X-Men United costumer designer Louise Mingenbach on the forthcoming sequel to Matthew Vaughn's X-Men: First Class. However, before fans cry out with concern about a return to the generic black costumes of the first two movies, Singer also took a moment to reassure fans in a subsequent tweet: "For those of you wondering... no leather suits..."

...Andrew Garfield has announced that filming on Sony's The Amazing Spider-Man 2 is set to begin in February 2013. With pre-production now in full swing, we can expect to hear more names joining Garfield, Emma Stone, Shailene Woodley (The Descendants) and Jamie Foxx (Django Unchained) in the cast of the Spidey sequel. There have been reports this week that director Marc Webb is looking at Dane DeHann (Chronicle), Brady Corbet (Melancholia) and Alden Ehrenreich (Beautiful Creatures) for Harry Osborn, while it's also rumoured that Damian Lewis (Homeland) could be in the frame for the role of Harry's father - and Peter Parker's arch-nemesis - Norman Osborn. Elsewhere, Webb also addressed the possibility of fan favourite J.K. Simmons returning to the offices of the Daily Bugle as J. Jonah Jameson in the rebooted series, telling The Huffington Post: "That's an interesting idea... it's tricky, because it's a different universe. But, you never know..."

...Warner Bros. stepped up its Academy Awards push for The Dark Knight Rises this week by releasing a selection of new stills to its 'For Your Consideration' website, as well as taking out a full page ad in Variety. The epic conclusion to Christopher Nolan's Dark Knight saga is sure to feature heavily in the technical categories when the nominations are announced, but it's certainly going to encounter some fierce competition when it comes to that coveted Best Picture nod. Meanwhile, as the film's DVD and Blu-ray release approaches, three unused posters from the theatrical campaign have arrived online, and you can check them out here..

...Looking ahead to the future of the Batman movie franchise and Looper director Rian Johnson took a moment to discuss whether he'd be interested in succeeding Christopher Nolan during an interview with Flickering Myth's Martin Deer: "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....

...During promotional interview to plug the latest re-release of 2009's Watchmen, director Zack Snyder commented briefly on next June's Superman reboot Man of Steel: "It’s a more serious version of Superman. It’s not like a heart attack. We took the mythology seriously. We take [Superman] as a character seriously. I believe the movie would appeal to anyone. I think that you’re going to see a Superman you’ve never seen before. We approached it as though no other films had been made. He’s the king-daddy. Honestly that’s why I wanted to do it. I’m interested in Superman because he’s the father of all superheroes. He’s this amazing ambassador for all superheroes. What was it about him that cracked the code that made pop culture embrace this other mythology? What we've made as a film not only examines that but is also an amazing adventure story. It’s been an honor to work on. As a comic book fan, Superman is like the Rosetta Stone of all superheroes. I wanted to be sure the movie treated it respectfully..."

...A rumour started doing the rounds this week that a script had been delivered to Warner Bros. for Green Lantern 2 that would see the return of stars Ryan Reynolds, Blake Lively, Mark Strong and Geoffrey Rush for a Sinestro Corps War storyline, but the talk was almost instantaneously shot down by Green Lantern screenwriter Marc Guggenheim, who told ComicBook.com that the report was "absolute bulls--t"...

...And finally, a couple more names have been added to the cast of The CW's Arrow, with Seth Gabel (Fringe) set to guest star as an incarnation of the villain Count Vertigo (albeit under a different, yet-to-be-revealed name) and Janina Gavankar (True Blood) securing a major recurring role as McKenna Hall, "a vice cop with the Starling City Police Department... [who] has a complicated history with Oliver [Stephen Amell]." Be sure to check out a promo for Wednesday's episode Muse Of Fire, which sees the introduction Helena Bertinelli, a.k.a.a The Huntress (Jessica De Gouw), along with a new featurette giving us an inside look at the filming of episode 2's silo fight scene between Arrow and China White (Kelly Hu).

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

Gary Collinson

Movie Review - Universal Soldier: Day of Reckoning

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Universal Soldier: Day of Reckoning, 2012.

Directed by John Hyams.
Starring Jean-Claude Van Damme, Dolph Lundgren, Scott Adkins, Kristopher Van Varenberg, James Rawlings, Mariah Bonner and Sigal Diamant.


SYNOPSIS:

Waking from a coma as a result of a vicious home invasion that took the lives of his wife and daughter, a man sets out to track down those responsible and in doing so, he discovers the truth behind his own identity.


Often by the time a franchise hits the fourth film, despite the success it took to get to that point, things begin getting tiresome.When the previous movie, Universal Soldier: Regeneration was announced a few years back it seemed a strange move. There was no real demand for it, no real effective follow on story to continue after the dreadful Universal Soldier: The Return, and it seemed little more than a cheap attempt at cashing in on the DVD marketing power of Van Damme and Lundgren. However, Regeneration was a surprisingly well made action flick that owed nods to Blade Runner and Children of Men. Despite a lack of a clear protagonist and thin plot, it delivered some brilliant action sequences that belied it's small budget and bettered many of what the multiplexes were offering up that year. The success, with a small theatrical run in the states, but mostly through DVD income, meant a fourth film was on the cards.

Returning to direct is John Hyams. His vision for Regeneration and surprisingly assured hand (given it was his feature film debut) were the main reasons it proved a success. Mystery has shrouded the production of Day of Reckoning throughout, with little being given away as to its plot. The film opens with a nightmarish first person sequence as John (Scott Adkins) is woken by his daughter who hears "monsters" in the house. He goes to check it out expecting nothing but walks in on a group of masked men. Savagely beaten he is forced to watch as his family are killed and the man responsible is unmasked and revealed: Luc Devereaux. Right from the offing Hyams grips the audience and throws in the curveball (which will doubtless rile some franchise fans) of placing former good guy Luc firmly in the role of chief villain. John wakes from his coma 9 months later with no memory aside from the death of his family and some brief flashes of their time together. From then on he sets about trying to find Devereaux and take his revenge, discovering more about Luc, and himself than he bargained for.

Playing out like a melding of Lynch, Cronenberg, Kubrick, Noe, Verhoeven and more, Day of Reckoning is a film so intense and dark of tone that, as a Unisol movie, it really shouldn't work. Hyams though keeps such a tight grip of proceedings, with a good script and engrossing direction, that he never lets the ball drop. As far as this year has gone in cinema, it's actually one of the ballsiest movies out there. The original film was very much in the 80s action vein with lots of cheese, a threadbare plot (borrowing heavily from RoboCop and The Terminator) and big set pieces. I love the film for it's simplicity and how effectively Van Damme and Lundgren were used. Great fun with tongue firmly in cheek. If Regeneration was a step away from that tone, Reckoning is a giant leap. Hyams lets his camera take in the grimy, noirly lit surroundings with slow movements and deliberately engrossing shots akin to the hallway shots in The Shining. We learn along with John and each new surrounding feels creepy, adding to the overall nightmarish tone of the film. It's a film too with plenty to engage the audiences and a lot of nice touches in an intricate plot that will require and warrant, repeat viewings. Hyams never delves too much into the science of the Unisols either, opting sensibly to avoid looking to deeply into what would get picked apart for it's lack of logic. A brilliantly Carpenter-esque score also adds to the atmosphere.

Importantly, Hyams doesn't forget the action, which is the key component of this franchise. The action is indeed very impressive. The fight scenes are brutal and like the rest of the film, there's no pulling of punches at all. Scott Adkins proves once more what a physical beast he is and an on screen fighter who is immensely watchable. He has a couple of fantastic showdowns with former UFC fighter Andrei Arlovski (the villain of the previous film, returning as another Unisol here). There's a standout car chase too, which again is a Universal Soldier trademark now. The finale though in which Adkins single-handedly takes out an army base of Unisols, as well as facing off with Lundgren and Van Damme is a fantastic sequence.

The cast impresses with plenty of characters who could easily have stepped out of a David Lynch film. As leading man, Scott Adkins is given a role that really tests him and gives him the chance to reach within himself perhaps for the first time. He's always had a good presence as a villain or henchman but until now, wasn't able to push himself in a leading role. Hyams, Doug Magnuson and Jon Greenalgh's script allows that and Adkins proves up to the task. This film will hopefully be the springboard for him to push himself up into bigger roles in bigger movies. It's a shot he deserves. Some will bemoan limited screentime for the two star names, Lundgren and Van Damme. Van Damme is goulish and effectively creepy as a Colonel Kurtz equivilant in the Universal Soldier world. Luc's arc from the first film, through Regeneration, takes a dark turn into this movie, but a turn that seems valid. He's not a villain in the true sense, but like the replicants in Blade Runner, a result of man's folly with trying to play god. He's more tragic than villainous. If Van Damme is Colonel Kurtz then Lundgren is taking on Dennis Hoppers role from Apocalypse Now. Sgt Scott is as unhinged as ever, but someone who seems to have found his place as a second in command. The inspirational mouthpiece that Luc has chosen to use. As per normal, Lundgren slips into the role very well and walks away with his scenes.

In a year that has delivered some fantastic and full on R rated action movies, Universal Soldier: Day of Reckoning stands high amongst the likes of The Raid and Dredd. The big box office action movies have been a little overblown and disappointing in truth, but there's been some fantastically delivered lower budget films that have really kicked ass.

Be sure to read our interview with director John Hyams here.

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

Tom Jolliffe

Doctor Who Christmas Special trailer and prequel minisode

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Friday night's BBC Children In Need benefit programme brought us the first glimpses of the upcoming Doctor Who Christmas Special, this year featuring Jenna-Louise Coleman, the Doctor's new assistant.

The first ever broadcast of the trailer was accompanied by a short minisode prequel, set some time between the deaths of Rory and Amy Pond, and the chronology of the Christmas episode. The Doctor is in nineteenth century England with a Silurian, a Sontaran and a human woman (sounds like the start of a bad joke). There is also mention of a meteor shower in the minisode, and later in the trailer, the Doctor talks about mind-controlling snow. Do I see a plot developing here?

The minisode shows the Doctor declaring that he has retired, one assumes due to the trauma of losing Rory and Amy to the Angels, and the effect this has had on his ever-active conscience. He also looks very handsome in Victorian getup, I might add.


In the trailer we see Jenna-Louise Coleman as Clara, a nineteenth century young woman, who Matt Smith and Coleman hint in the commentary might be the character to bring the Doctor out of retirement. It's not made entirely clear whether Coleman is playing the same character from the last series, Oswin. According to IMDb, Oswin's first name is Clara, which leads to questions about Oswin's demise and transformation into a Dalek. I'm sure Moffat will answer all questions when the latest season resumes.


The first few peeks at the Christmas Special and upcoming episodes have so far been promising, with typical Who fodder and Moffat writing coupled with a fresh face in the form of Coleman. So far she's shaping up to be a very promising new assistant for Matt Smith and the Doctor Who fandom.

Trailer Trash - Side Effects, 21 and Over and World War Z

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Sara Bentley reviews everyone's favourite part of the going to The Pictures - the trailers...



Vague Curiosity: Side Effects

It’s all blue skies and smiles as Channing Tatum and Rooney Mara frolic in an embrace of love. Twenty seconds later, a pill is popped and a murder is committed. Who, what and what, I hear you ask? This rather bemusing introduction is in fact the trailer for Steven Soderbergh’s (Contagion, Ocean’s Eleven) latest venture into the thriller genre with Side Effects. Emily Hawkins (Mara) turns to anxiety pills ahead of her husband’s (Tatum) impending release from prison. The pills, however, would appear more sinister in their side effects than generally assumed.



The trailer for Side Effects is one of those leaving you with more questions than when it initially came on screen. Flashes of murderous action are combined with a precariously described relationship with the assumed psychiatrist in the shape of Jude Law. The face of Catherine Zeta-Jones also pops up in surprising fashion. With just a scent of a plot scattered throughout the two minutes, its narrative direction is weak, relying mostly upon star shots and dramatic action to carry through.

For all its vague confusion, there is some intrigue to Side Effects in the form of its cast. Mara is fresh from her acclaim as Lisbeth in Girl with a Dragon Tattoo (David Fincher), whilst the track records of Tatum, Law and Zeta Jones should provide strength. It’s a step into the unknown, with just a few familiar faces to guide your way.

Side Effects will hit UK cinemas on 15th March 2013. 


Tried and Tested: 21 and Over

When you hear that the writers of The Hangover (2009) are creating a film called 21 and Over, it’s not too hard to envision the general proportions of plot. And we’re not too far off the boil with Jon Lucas and Scott Moore’s debut attempt at directing. A male group celebrate an old friend’s 21st birthday by getting ardently ‘wasted’, thus jeopardising the birthday boy’s important interview the following morning.


Sound familiar? Just replace ‘21st Birthday’ with ‘Stag Do’ and ‘Interview’ with ‘Wedding’, and you have the basic plot of both The Hangover and The Hangover Part II (2011). With perhaps just a slightly younger starring cast. Harking upon its predecessors, the trailer for 21 and Over is full of fast paced hilarity. A night of drinking and digression summed up in two minutes. The focus here is simple juvenile humour. When the two friends throw their inebriated companion over a balcony for him to bounce off into a tree – it’s funny. When someone vomits atop a rodeo bull – it’s funny.

One would forgive Lucas and Moore for effectively playing safe with their debut feature. A tried and tested narrative, with just enough of a twist to keep it fresh. 21 an Over should attract attention all round.

21 and Over is set for a US release on 1st March 2013. A UK release date is yet to be confirmed.


Ambiguous Enemies: World War Z

A family leisurely play ‘Guess What’ as they wait in a traffic jam. Suddenly the wing mirror of their car is broken off as a motorbike zooms past. A helicopter flies overhead as a commotion begins to gather ahead of the queue. As the family are ushered to stay in their car by a policeman, he is instantly crushed by a garbage truck as it launches through the traffic. Within forty seconds, a scene is set. This explosive start belongs to the theatrical trailer for Marc Foster’s latest feature World War Z.



Adapted from the novel by Max Brooks, World War Z is essentially a zombie movie. Interestingly, however, the trailer steers clear from any direct mention of this major narrative aspect. Countless shots of crowds running through streets in disarray fill the screen. But what are they running from? Figures emerge from an overturned bus into a spray of bullets from armed forces. But who is the enemy? Those shooting? Or those being shot at? As UN employee Gerry Lane, when Brad Pitt askes his colleague ‘What is this?’ no answer is provided, just ambiguity. With just the one shot of an apparent human figure chasing Gerry’s family as they flee, the enemy could be almost anything.

Foster’s decision to shroud the trailer in narrative mystery could hark to a number of reasons. Enigma most certainly builds intrigue. Does Foster assume an informed audience in their dealings with the feature’s source novel, and as such a descriptive trailer would prove unnecessary? Or does Foster wish to touch upon, and thus make his feature applicable to, matters closer to home and certain battles that rage upon this earth as we know it? Reasoning aside, World War Z looks set to cause a storm. An epic approach with a magnificent ‘look’, it is most certainly one to look out for.

World War Z is set to hit UK cinema screens next summer on 21st June 2013.


Sara Bentley

Comic Book Review - Teenage Mutant Ninja Turtles #15

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Chris Cooper reviews the latest issue of TMNT...

In the wake of their recent skirmish with the Shredder and the Foot Clan, Splinter has instructed his sons that they must take drastic action to protect themselves from mortal threats. Little do the Turtles know that new dangers will soon surface.

So, with issue #15 of TMNT we find the Turtles searching for a new lair in the midst of a vicious series of attacks by a ‘big green lizard monster’, or as long-time fans of the heroes in a half shell will call him, Slash!

It turns out that Slash is another result of Baxter Stockman’s experiments, this time created to hunt other mutants. He quickly tracks down the Turtles, and we’re left wondering at the end how exactly they will take him down!

The series so far has impressed me, especially with regards to Tom Waltz’s scripts (the story co-written by original creator Kevin Eastman). Each brother has such a clear voice that it didn’t even matter that they spent the first five issues wearing their classic red bandanas (which was a great nod to the original design and nicely incorporated). It has always been easy to tell who is who. This continues into issue 15, with Raphael questioning Leonardo’s decisions whilst Donatello admonishes his brother’s wimpiness and ribs Michelangelo. Splinter has a funny scene with Casey Jones, which while some may roll their eyes at; I found a nice change of pace for him after recent seriousness.

Even though the current story seems relatively straight forward in comparison to Krang and Shredder it all still ties into Stockman and his company. Between the Mousers he provided to Old Hob (himself an experiment) and now Slash he is becoming quite the thorn in the Turtles side, and it will be very interesting to see how it all comes together in the future.

Andy Kuhn’s art has challenged me since he came aboard in issue 13, and just as I start to appreciate it news comes to me that he is only signed on for one more issue, when Ben Bates takes over for four issues. His designs are an acquired taste, with oddly drawn faces in particular taking some getting used to. But Slash is a beast, exaggerating the features of the regular Turtles and looking far, far meaner. Really looking forward to see how they manage to deal with him.

With laughs, action, and great banter between the main characters, Teenage Mutant Ninja Turtles # 15 is pretty much everything you would want from a Turtles comic.

Chris Cooper

Brad Bird won't direct Star Wars Episode VII

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After a crazy couple of weeks that saw virtually every director in Hollywood linked to the project, the random speculation over who will be the person to helm Disney's Star Wars Episode VII seems to have abated. Several of the candidates rumoured to be in the frame to succeed George Lucas have since scratched themselves off the internet shortlist, and now fan favourite Brad Bird has decided to follow suit, with the two-time Oscar winner confirming via Twitter that he's "not doing Star Wars."

Along with Steven Spielberg (Lincoln) and J.J. Abrams (Star Trek Into Darkness), Bird - whose credits include The Iron Giant, The Incredibles, Ratatouille and Mission: Impossible - Ghost Protocol - was said to have been top of Lucasfilm's wishlist to direct the new Star Wars movie, which is currently being written by Michael Arndt (Little Miss Sunshine). Instead, Bird has confirmed that his next feature will be another sci-fi, the mysterious 1952, which has been penned by Damon Lindelof (Prometheus).

According to producer Frank Marshall, the shortlist for the director's chair on Episode VII has been narrowed to "a couple"  and with Bird now joining Abrams and Spielberg in denying any interest, the identity of the remaining candidates is anyone's guess. There has been talk that Matthew Vaughn (X-Men: First Class) and Colin Trevorrow (Safety Not Guaranteed) are in contention, while other names that have been banded about include the likes of Darren Aronofsky (Black Swan), Alfonso Cuaron (Children of Men) and Neill Blomkamp (District 9). Regardless, we should probably expect an official announcement soon if Disney is to meet its planned 2015 release date...


Too Much for Tarantino?

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Commenting on the Critics with Simon Columb...

Quentin Tarantino is getting older, and Russ Fischer for /Film writes that he “wants to age gracefully” and how doesn’t want to fall into “a trend… that of the once-great master who keeps working until his last days, with diminishing returns”. Fischer refers to an interview QT gave to Playboy:

"I just don’t want to be an old-man filmmaker. I want to stop at a certain point. Directors don’t get better as they get older. Usually the worst films in their filmography are those last four at the end. I am all about my filmography, and one bad film f*cks up three good ones … When directors get out-of-date, it’s not pretty."

Read the full article here.

John Ford, in 1917, directed his first film. Alfred Hitchcock directed his first film in 1922. The Searchers and Vertigo were released in the late 1950s. Steven Spielberg directed Duel in 1971 whilst Martin Scorsese directed Boxcar Bertha in 1972. I think it is fair to say The Departed and War Horse hardly exemplify directors losing their edge. Tarantino knows this.

I appreciate what Tarantino wants to do – he wants hit-upon-hit. He wants to ensure his reputation isn’t tarnished – but he is trying to do something he is not in control of. All he can do is create a work of art that we can all appreciate. I can imagine – and it would be awful – but Tarantino may fall out of favour with film fans. I wrote an article for Flickering Myth noting how his style may already be too “same-y” and, in twenty years, maybe his work will simply be placed in a stack of films alongside filmmakers Edgar Wright and Kevin Smith, whereby their obsession with films seeps into their stories – becoming too referential and imitational. It is all the rage at the moment – and Tarantino started it all. But is this ‘genre’ of filmmaking a style which is truly respected? Indeed, anyone who is not as cine-literate as the filmmaking may become lost in the back-to-back references throughout. I personally believe these films are much more satisfying if you know who they are nodding towards.

Tarantino claims he wants to reach an “artistic climax”, but I’m sure he is aware that most artists strive to top their previous effort. I doubt Spielberg believes he is taking it easy when tackling motion-capture technology for The Adventures of Tintin. I’m positive Martin Scorsese hoped Hugo would become an important piece of filmmaking – as it celebrates everything, outside of directing, that Scorsese is invested in: re-mastering, re-releasing and appreciating art history.

It’s a talking-point which means nothing. Fischer reports on this in the hope we can sit around and discuss what would happen if Tarantino stops – or maybe if he should stop sooner rather than later. Maybe Tarantino peaked with his second film – Pulp Fiction. Who knows – but I know that I want him to continue. What will the state of cinema and filmmaking be in, in twenty years? And how will Tarantino respond? In fact, with the changing-face of cinema – the impact of computer games on the industry alongside successful TV-series – the industry may begin to lose its edge. An edge that, as a lover of cinema, Tarantino would be mortified to see lost. And an edge that Tarantino, I believe, would do anything to defend – and defend in the only way he knows how: by making a damn good film.

Simon Columb

Second Opinion - The Twilight Saga: Breaking Dawn - Part 2

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The Twilight Saga: Breaking Dawn - Part 2, 2012.

Directed by Bill Condon.
Starring Kristen Stewart, Robert Pattinson, Taylor Lautner, Mackenzie Foy, Ashley Greene, Maggie Grace, Jamie Campbell Bower, Nikki Reed, Michael Sheen, Kellan Lutz and Dakota Fanning.



SYNOPSIS:

The Cullens join forces other vampire clans in order to protect Edward and Bella's daughter Renesmee from the Volturi.


Surprised that I'm going to say this, but I have a sneaking suspicion that Twi-hards are not going to like Breaking Dawn – Part 2. Mainly due to the fact that WHAT THE HELL WAS THAT ENDING?! Seriously. Throughout my education, I have been told that the "he/she woke up and it was all a dream" scenario is an absolute no-go for effective and intuitive writing. Melissa Rosenberg wanted to utilise Alice's future-seeing powers, and I'm guessing the big wig producers wanted at least one decent action scene in the whole movie, so hey, let's completely destroy the credibility of the book and have a great big fight scene that just doesn't exist. Okay? Okay.

I have traversed my adolescence with The Twilight Saga, from the age of thirteen when I thought it was the best thing in the world, to a slightly older age where I could appreciate its literary merit (precisely, zero). I have watched all of the films, read the books, learned all the trivia. And now I am at a point where, to be honest, I just don't care. The cinema I watched the film in today, on opening day, was barely half full. Compare that to opening day of the last Harry Potter movie, when cinemas everywhere were packed out and fans dressed up as the favourite characters (I'm not ashamed to say I was among them). I think that people have had their fill of Bella and Edward, and now it's at the point where it's getting slightly repetitive and tedious.

The people behind the Twilight Saga have obviously realised this, and Breaking Dawn - Part 2 was evidence as to how incredibly hard they have tried to keep Twilight relevant. Unfortunately what started out as a low budget indie film with unknown actors has in a way been the cause of its own destruction. Literary merit aside, Twilight is actually quite a sweet love story. It's supposed to be low-budget and under-acted. It's supposed to be subtle. Breaking Dawn - Part 2 was not.

There were some redeeming qualities to the film. Kristen Stewart has improved. Dramatically. And this is coming from me, someone who everyone who reads and writes for Flickering Myth will know holds a (perhaps unwarranted) grudge against Stewart and her acting capabilities. Obviously in the real world what Bella Swan goes through is enough to make any girl question her life choices. The implicit pain and emotion that we saw something of in part one, is demonstrated to an even better proportion in part two. Kudos to Stewart for learning how to act. Whoever said sleeping with the director was a bad career move?

Elsewhere, visual effects picked up as the budgets invested into these movies have been ever increasing. The northeast of the US was always going to be a breathtaking location to film a movie and the snowy forest backdrops that permeate the film are as ever incredible. CG was lapse elsewhere with the digital Renesmee, the latest addition to the Cullen brood. Technology is not ready to create realistic babies, and even in pre-production the makers acknowledged that this was going to be a problem. Photographically, the mood and atmosphere set by the vast overhead landscape shots and brooding forestscapes were spot on.

I think the main thing that let Breaking Dawn - Part 2 fall short of the epic and celebrated finale to this much-loved franchise was, unfortunately, the writing. Whilst attempting to stay true to the original story and with exec producer Stephenie Meyer breathing down her neck, Melissa Rosenberg crammed too much in, but also somehow managed to make the plot drag. And drag and drag. The main thing about the second half of the novel is that, honestly, nothing really happens. All the good bits are in the first half of the book when Bella loses her virginity, gives birth, becomes a vampire etc. etc. And all those bases were covered in part one.

So what's left? Not much. Even the epic fight scene turns into the cold war. To be honest, Breaking Dawn didn't really need to be a two-parter. Everything could have easily fitted into one movie. Unfortunately, Part 1 was the high point, and Part 2 seems to be an epilogue. Even though the writing fell horrendously short, one has to acknowledge that this franchise does hold an extremely important place in contemporary popular culture, and despite its shortfalls the conclusion makes me feel as though the actors, the readers and the watchers have all come of age. It's time to leave Twilight behind, and move on to bigger and better things.

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

Kirsty Capes

Breaking Dawn - Part 2 breaks the bank at the North American box office

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In what should surprise no one, The Twilight Saga: Breaking Dawn - Part 2 opened up to monster numbers in it's opening weekend with an amazing $141 million opening weekend,  shy of the franchise record New Moon by just $1 million.  Worldwide the final installment brought in nearly $340 million.

It's been a banner year for Lionsgate who has become the first studio to launch two movies to over $125 million openings, the other being this years' other major young adult fiction franchise The Hunger Games.

Skyfall fell to second place taking in $41 million in its second week.  The latest Bond film has been holding strong due to excellent reviews and fantastic word of mouth.

Steven Spielberg's Lincoln made a solid debut at number three with $20 million.  The movie opened to around 1700 screens and is playing the long game at the box office.  This one should be around for awhile as the holiday transitions into the award season.

Wreck-It Ralph landed in fourth place raking in the family friendly finances with $18 million, and Denzel Washington's powerhouse performance in Flight continues to generate notice earning another $8 million in its third week of release.

Next week is Thanksgiving here in the U.S.   And we give thanks by stocking the cinemas with a diverse group of films: First up, there's the much anticipated literary adaptation Life of Pi; the marginally anticipated holiday animated tale Rise of the Guardians;  David O'Russell teams with Bradley Cooper and Jennifer Lawrence in the romantic comedy Silver Linings Playbook; and the remake that no one asked for, Red Dawn, pitting a group of attractive young people against the invading army of.... the North Koreans?  The last time I checked, the North Koreans couldn't even feed their own people, much less orchestrate a coirdinated invasion of the Pacific Northwest.  I might have to see this one out of morbid curiosity.  See you next week.

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

1. The Twilight Saga: Breaking Dawn - Part 2
Weekend Estimate: $141 million

2. Skyfall
Weekend Estimate: $41 million; $161 million total

3. Lincoln
Weekend Estimate: $20 million

4. Wreck-It Ralph
Weekend Estimate: $18 million; $121 million total

5. Flight
Weekend Estimate: $8 million; $61 million total

Anghus Houvouras

In Tune: Susan Lacy talks about Inventing David Geffen

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Trevor Hogg chats with Emmy Award-winner Susan Lacy about the origins of American Masters and her latest documentary chronicling the life and times of David Geffen...


I’m the creator of the PBS TV series American Masters and it has been on the air for 27 years now,” states Susan Lacy who was in Los Angeles attending the celebrity studded premiere of her latest documentary Inventing David Geffen (2012).  “We’re approaching our 200th documentary.  The thing that separates my series from much of the other work in this area is I don’t do it unless I know I can get access to the material that is going to make the film sing so to speak.  That’s no small feat because every element in this documentary, from the music you hear to the photographs and the headlines you see to any archival clips whether its movies or stock footage, costs [money].”  When asked what makes music mogul David Geffen an ‘American Master,’ Lacy laughs,   “I had gotten to know him when I made a film on Joni Mitchell.  I interviewed him and then again when I did a film on The Byrds and the history of Atlantic Records.  I always found David to be remarkably and refreshingly candid, and funny.  Someone said, ‘He is also the person who discovered Laura Nyro.’  And I said, ‘Really?’  I knew about the whole Asylum [Records] era because that’s what I grew up with.  Laura Nyro and Joni Mitchell are two of the greatest songwriters of my growing up years. I thought what an amazing ear he has had because Laura Nyro wasn’t everybody’s taste.  I started looking into his story and realized David was one of the few I knew of who had succeeded in all three fields in the entertainment business: music, theatre, and film; he has an interesting story and is a really interesting person.”


“I was worried because there is little film on David himself,” admits Susan Lacy who had to devise a creative solution.  “I would fill in with animation and of course there is an incredible cast of characters. David has touched a vast array of people and many of them are in the film so that was what carried the day.  I had to have access to the music, DreamWorks, Geffen movies, none of which are owned by Geffen anymore, and to all of these people.  It was film with an unusually long creative time.  I started this about four years ago.  I stopped [for a year] and made the film on John Lennon for his 70th birthday.  Because I run the whole series I can take the time.  In this case it took a long time to get certain people’s schedules [to work].  It took two years to get Neil Young’s schedule but the film would be poorer without him.  It was important for him to be in the film so I was happy that I had the luxury of being able to wait until he could do the interview.”  Along with Young, who was once sued by David Geffen for making music uncharacteristic of him, a key figure needed for the documentary was the title character.  “I don’t think quite honestly that David realized he would have to do interviews which is hysterically funny. David said, ‘You did Leonard Bernstein and didn’t have him to do interviews.’  I said, ‘Well, he isn’t alive anymore. But I also had a thousand hours of Leonard Bernstein on film and don’t have that on you.  I can’t make this film without doing these long interviews with you.’ He agreed.”  The press shy Geffen speaks with a surprising frankness.  “David can’t help himself; he is a candid person and direct. When he is asked a question David gives an honest answer but is not used to that.  David doesn’t like to talk about himself; the biggest issue was him getting bored with his own story.  We would have to do it in increments.  Do other things and come back to it because he is antsy and can’t sit for long.  It was an interesting process of getting him comfortable with me, the interview process, and going into areas that he probably only talked about with his therapist.”


“It was fully explored,” remarks Susan Lacy when the issue of David Geffen having a legendary volatile temper is mentioned.  “It isn’t just Jackson Browne.   Everybody talks about it.”  On whether Geffen has mellowed with age, the Emmy Award-winner believes, “I think he has.  I also think he is not in business anymore.  David was a great dealmaker who got what he wanted and did what he had to do to get things to turn out the way he wanted them to.  Neil Young says, ‘David was a performance artist.  The art of the deal was his stage.’  He wanted to create the impression that people should be afraid of him.  Cher says in the film, ‘It is probably better to have people be afraid of you than be yourself.’  David is an interesting mixture of an ambitious man who could get what he wanted and he is also a vulnerable and kind person.”  Lacy notes, “Steven Spielberg says in the film, ‘He goes to the barbed wire for you.’  David is a loyal friend. He is exactly the person we would like to be.  You treat him well.  He treats you well.  It is very direct with him.  David has an honest affect on people.  David was probably not more ruthless than a lot of other people; he is more direct about it.  David was also young.  David was the same age of the artists he was representing.  He wore jeans and T-shirts, and looked like them.  In some ways he was an easy target.  If you’re older you can get away but the fact that David was ambitious, got what he wanted, and didn’t let barriers stop him, people talked so much about that.  It had something to do with the fact he was young and rash.”


“The idea is that I wanted to immediately visually establish that there is this guy whose reach was so broad and the things that he touched,” explains Susan Lacy when discussing the visual collage at the beginning of Inventing David Geffen.  “It is a symbolic opening graphic and effective.”  Lacy was amused by suggestion that some of the animated sequences resemble a cross between Monty Python and Peter Gabriel’s music video for Sledgehammer.  “That is probably true of some it.  They are all a bit different.  My favourite one is the phone conversation between Clive Davis and David; I don’t think either one of them knew it was being taped.  We go under every rock when we’re making these films to find stuff.  We had tracked down a number of journalists who had covered David and aspects of his career.  I cannot remember the name of this particular journalist but he had written a lot about David in that whole era.  We found out that he had passed on and his family went through all of his papers and things in Texas.  We went there and found an audio tape with this phone conversation which is so funny and revealing.  We heard David negotiate.  They were talking about putting The Byrds together again.  He’s talking to Clive Davis because some of The Byrds were on Columbia and Clive is like, ‘We’ve had The Byrds for all of these years.’ And David says, ‘Yeah, but you’ve only got one Byrd.  I’ve got four.’  I love that animation.  Things like that I had to come up with stylistic solutions because I hardly had any film on David.”


“There were five areas of influence to be covered,” states Susan Lacy.   “When making a film about Joni Mitchell there is a long career but there is a real arc and it is all of her work.  It is all of her writing.  David had to deal with three different record companies, his own Geffen company, Geffen movies, DreamWorks, and political influence.  It was a huge story.  Structurally it was a challenge. They are all challenges in one way or the other.  There isn’t any blueprint for any of these films.  They’re all different.  They’re all carefully crafted.  We solve each one’s problems differently.” Inventing David Geffen screened at the Toronto International Film Festival.  “I do a television series so unlike an individual filmmaker who makes a film and spends years on the festival circuit before it goes on television I do have a schedule I have to meet.  When I can make that work I’m delighted when I can and sometimes I can’t.  I can have a perfectly wonderful film and have to go on the air and missed all of the major festivals dates or otherwise I would have to hold it for a year or something like that.   We’ve been doing this for years. We even had films that had a theatrical release. That is something in retrospect I wish I had done with this film because people love it and it is an entertaining film.  It may have found an audience theatrically.  I didn’t think so initially but I probably couldn’t have afforded it.  To clear all of that music; there are a 114 music cues in this film and that’s unusual for any documentary even on a performer.”


“I’m very worried about it because there was a time when the DVD market was strong that we could count on that for revenue and that is pretty much gone,’ observes Susan Lacy who is concerned about the prospects for documentary filmmaking.  “We can get smaller advances now but not like we used to be able to.  In terms of the credit films I make which are cultural documentaries there are almost no slots left for them in the world of television market.  There are so few but they are all hour shows which are in terrible time periods.  All of the big major arts series that used to be on the BBC and ITV in London are all gone. There is a little remnant left but they are few and they have no money.  It will have to rely on in the future a great deal more on philanthropy. The NEA [National Endowment for the Arts] used to be a major funder of American Masters, which is probably the major television cultural documentary series that exists, has dropped their funding drastically in favour of the Internet implying that there is not even an audience for long form anymore.  We have to find some new paradigm quickly to protect the future of documentaries.”  As to what led her to come up with the concept for American Masters, the American Studies major remarks, “The relationship between a person’s life and what they put out in the world that literally changes the world are fascinating stories; I’ve always been interested in them.  I read biographies when I was a kid.  When I went to work in public television 33 years ago I was involved in arts programming and we were doing operas, ballets, theatre, and plays; there was a place for that but I noticed there was no place for this kind of documentary.  It didn’t exist and therefore it was hard to get this project off the ground.  The first thing I wanted to do was to make a place in the schedule for it, that’s what I did and have been producing them ever since.”


“Whenever you start any of these films you don’t exactly know what form it is going to take because they are not cookie cutter films,” observes Susan Lacy.  “Their structure and form is dictated by the subject to some degree.  If you’re making a film about Lou Reed it is going to be a gritty downtown black and white feeling to it.  Making a film about Leonard Bernstein, which I did, it is a magisterial feeling.   They are all different stylistically and that comes out of the material.  I don’t think I knew in the beginning how incredibly entertaining and funny this film was going to be.  But a lot of it does have to do with how we chose to edit the film.  It is purposely music driven.  Not all of them are of course.  We’re just finishing a film on Philip Roth.  It’s an entirely different film but it is a perfect film for Philip Roth.”  In regards to producing Inventing David Geffen, Lacy declares, “It is a vast subject matter with a subject who is renascent in many ways.”  The Los Angeles screening featured major Hollywood figures such as Warren Beatty (Reds), Bruce Springsteen, and Tom Hanks (Cloud Atlas) amongst the audience members.  “Every place you looked there was somebody.   Coppola.  Oh, my God!  Francis Ford Coppola [Apocalypse Now] was watching my documentary!  I was in heaven.  It got an incredible response.  I don’t think with maybe the exception of our Bob Dylan documentary [No Direction Home]that there has been a film that as wide a group of people have been interested in as Inventing David Geffen.  That seems surprising to me because we’ve made films on some pretty major and important people but they are more niche.  People are interested in this film because there is some aspect or another of David’s life that reaches a lot of different people.  There is The Asylum Period or the Geffen Records Period or the DreamWorks Period or David influencing the election of Barack Obama [not this one but the last one], and the fact that he is a mysterious billionaire who has stayed out of the press.  The interest in this film has been phenomenal.”


Photo credits: Joel Bernstein, Henry Diltz, Rahoul Ghose, and Graham Nash.

The television premiere of Inventing David Geffen airs Tuesday, November 20, 2012 at 8 p.m. (ET) on PBS (check local listings).

Many thanks to Susan Lacy for taking the time for this interview and make sure to visit the official website for American Masters.

First brief teaser trailer for Game of Thrones season 3

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There's still more than four months to go until the premiere of the third season of Game of Thrones, so to help ease the wait and further fuel anticipation for the next batch of episodes, HBO ran a brief teaser trailer prior to the latest episode of Boardwalk Empire, and now it's made its way online for all to see. Before you get too excited, it's only fifteen seconds in length and features no footage, but rather a voice-over teasing the epic action that's coming our way in March 2013.

The third season of Game of Thrones is based upon the first half of A Storm of Swords, the third book in George R.R. Martin's A Song of Ice and Fire series, and will see the show's already enormous cast bolstered by several newcomers to Westeros, including Brynden Tully (Clive Russell), Edmure Tully (Tobias Menzies), Beric Dondarrion (Richard Dormer), (Oldenna Tyrell (Diana Rigg), Ramsay Snow (Iwan Rheon), Selyse Baratheon (Tara Fitzgerald), Thoros of Myr (Paul Kaye) and Orell (Mackenzie Crook), as well as Mance Rayder (Ciaran Hinds), the 'King-Beyond-the-Wall'.

Check out the teaser here:

Game of Thrones season three will premiere on HBO on March 31st, 2013.

Blu-ray Review - Flight of the Navigator (1986)

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Flight of the Navigator, 1986.

Directed by Randal Kleiser.
Starring Joey Cramer, Paul Reubens, Veronica Cartwright, Cliff DeYoung, Sarah Jessica Parker and Howard Hesseman.


SYNOPSIS:

When a young boy is sent to fetch his younger brother he slips and is knocked unconscious.  Awakening he returns home, only to find his parents have moved and aged by eight years.


What I love about this film is how it's about time travel.  It's great.  Obviously it doesn't get too complicated with it, it is a kids film after all, but it deals with the topic as its premise, and you've got to love that.  The events of the film transpire because the alien AI in the craft that abducted David felt time travel to the past was too risky for human beings, and so unfortunately for David he can only be returned to the present - rather than back to the exact time he was taken - which just happens to be 8 years later. 

I can honestly see this movie as perhaps the genesis of my lifelong love affair with science, space and the possibilities of time travel.  It's presented in a really cool way, and when watching it as a kid and seeing David get to experience these absolutely larger than life situations you just want to experience it too; it captured the imagination, which turned in to a thirst for knowledge.  As a kids film that can inspire that, it's a winner.

In general, Flight of the Navigator is really enjoyable, but a little weak plot wise.  I feel the film would have benefited greatly if - rather than David being a completely loving child and getting on well with his parents - that perhaps if he'd have been a little more of an annoying child who is indignant towards them, then through his experiences at NASA and on board the spacecraft he could have opened up to appreciate his parents as a result.  As it is the status quo at the start of the film remains the same at the end, and there's never any real tension or suspense - although I do remember there being loads when watching as a child, so with younger eyes it works.

All in all it's a great little film, definitely one to show the kids.  Even if they're big ones.

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

Martin Deer

Blu-ray Review - Short Circuit (1986)

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Short Circuit, 1986.

Directed by John Badham.
Starring Ally Sheedy, Steve Guttenberg, Fisher Stevens, Austin Pendleton, G.W. Bailey, Brian McNamara and Tim Blaney.


SYNOPSIS:

An experimental military robot becomes sentient after being struck by lightning and befriends a young woman, who attempts to help him from being recaptured by the army.


Let's take a trip back to a simpler, more civilized age - the 1980s, where military robots enjoyed nothing better than settling down in front of the TV to watch old Marx Brothers movies or busting out some John Travolta dance moves to Saturday Night Fever, as opposed to obliterating humanity and taking over the world. Well, that's not quite true of course (one only needs to look at The Terminator for evidence of that), but it's certainly the case when it comes Number 5, the protagonist of director John Badham's (the aforementioned Saturday Night Fever) 1986 smash hit sci-fi comedy Short Circuit, which receives a shiny new Blu-ray HD re-release today courtesy of Second Sight Films.

Created by scientist Newton Crosby (80s favourite Steve Guttenberg) and his assistant Ben Jabituya (Fisher Stevens) as one of five prototype robots reappropriated by the military to unleash on those pesky Russians during the Cold War, Number 5 (voiced by Tim Blaney) becomes alive after being struck by lightning during a storm. Wandering out of the military facility, Number 5 eventually arrives at the residence of the animal-loving Stephanie Speck (80s favourite Ally Sheedy); initially mistaken as an extra-terrestrial, the malfunctioning robot seeks 'input' from Stephanie, soaking up information from books, magazines, old movies and trash daytime TV to develop a personality and an awareness of his own existence.

While Number 5 explores his new found 'humanity', Crosby's employers at Nova Laboratories are keen to recapture their $11 million investment (and avoid a potential PR nightmare, should Number 5 realise he's carrying a super-powerful laser on his back and decide to put it to use on the local populace). The company dispatches head of security Captain Skroeder (Guttenberg's Police Academy nemesis G.W. Bailey) to capture the robot, but naturally Number 5 doesn't take too kindly to the thought of being 'disassembled' and with the help of Stephanie, he sets out to convince Crosby of his sentience so the trio can go on to live happily ever after.    

So, how does Short Circuit hold up after all these years? Well, for a start it looks great, thanks in part to a decent HD restoration for the Blu-ray release, but credit is also due to Eric Allard (Stuart Little) and his VFX team for the fine practical effects employed to bring Syd Mead's (Blade Runner, TRON) Number 5 design to life. Still, it's also a product of its time - the "wholesome 80s family entertainment movie" - complete with standard performances from its then box-office draws, a sprinkling of adult humour to keep the parents happy, and an Indian character portrayed by a white actor (Fisher Stevens) who puts Apu Nahasapeemapetilon to shame as a stereotype, but still manages to steal most of the laughs.

If you have fond childhood memories of Short Circuit, then it's certainly worth a watch for nostalgic purposes; Number 5 remains an endearing enough character (if a little annoying at times) and his zany antics will surely still entertain the young 'uns of today, while the film's basic premise of discovering the value of life is almost Disney-esque in its timelessness. There's also an "edgy, darker" remake featuring a "brooding" Number 5 in the works from Tim Hill, the man who brought us Muppets from Space, Garfield: A Tail of Two Kitties, Alvin and the Chipmunks and Hop, so this might be your last chance to revisit the original before its memory is sullied forever.

Gary Collinson is a writer and lecturer from the North East of England. He is the editor-in-chief of FlickeringMyth.com and the author of Holy Franchise, Batman! Bringing the Caped Crusader to the Screen.

Win Redbox rental vouchers with Flickering Myth

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Flickering Myth has teamed up with Redbox to help our American readers while away those cold winter nights by giving away ten Redbox rental vouchers for a title of your choosing. Read on for details of how to enter this fantastic giveaway...

Redbox is America's destination for movies and video games. With 31,500 locations nationwide, Redbox is the fun, fast, easy way to rent the latest new release movies on DVD or Blu-ray Disc® and the top new release and family video games. Featuring up to 200 titles and 630 discs, Redbox is a fully automated video rental store contained in 12-square feet of retail space. With more than 68 percent of the U.S. population living within a five-minute drive of a Redbox kiosk, Redbox is where America rents movies and games.

Select from new movie releases like The Amazing Spider-Man, Arthur Christmas, The Avengers, BraveThe Campaign, Madagascar 3: Europe's Most WantedMagic MikeMoonrise Kingdom, Prometheus and Snow White and the Huntsman, or hit video games such as 007 Legends, Assassin's Creed IIICall of Duty: Black Ops II, Halo 4 and Medal of Honor: Warfighter.

Visit the official Redbox site here.

To be in with a chance of winning, firstly make sure you like us on Facebook...


...Then go directly to the competition message, hit 'like' and 'share', and that's it!

The competition closes at midnight (EST) on Saturday, November 24th. US entrants only please.

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

Here's the red band trailer for Movie 43

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Momentum Pictures has released a red band trailer for the upcoming anthology comedy Movie 43, which is comprised of 25 short sketches from directors Peter Farrelly, Patrik Forsberg, Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, James Gunn, Bob Odenkirk and Brett Ratner.

The cast of Movie 43 is rocking some serious star power and features a virtual who's who of Hollywood, including Hugh Jackman, Emma Stone, Kate Winslet, Anna Faris, Halle Berry, Elizabeth Banks, Terrence Howard, Naomi Watts, Richard Gere, Christopher Mintz-Plasse, Chloe Moretz, Liev Schreiber, Jason Sudeikis, Kristen Bell, Leslie Bibb, Kate Bosworth, Kieran Culkin, Josh Duhamel, Seann William Scott, Stephen Merchant, Justin Long and Gerard Butler.

I could name more, but we'd be here all day, so why don't you just watch the (completely NSFW) trailer instead:


Movie 43 is released in North America on January 25th, 2013 and arrives in the UK on February 1st.

Blu-ray Review - The Man in the White Suit (1951)

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The Man in the White Suit, 1951.

Directed by Alexander Mackendrick.
Starring Alec Guinness, Joan Greenwood, Cecil Parker, Michael Gough, Ernest Thesiger and Howard Marion-Crawford.


SYNOPSIS:

A brilliant young chemist invents a fabric resistant to wear and tear, only for him to fall foul of the trade unions and mill owners who attempt to suppress his invention.


Try to imagine an unbreakable, unsoilable fabric. It never wears out. It never gets dirty. Tailors have to set about it with a blowtorch to cut a suit. Revolutionary, yes? Probably too revolutionary for economies that depend on textile industry. You’d only ever need to make one batch. Everyone would be out of business; there’d be redundancies from factory worker all the way up to senior management.

Now try to imagine the sort of mind that could invent this fabric. Now try again, because it’s probably nothing like the bashful, secretive, strangely charming Sidney Stratton. But if only Sidney Stratton could invent the ever-lasting suit, then only Alec Guinness could truly bring him to life, turning this nervous, indignant scientist into a lovable outcast. Oddly for a protagonist who cares so little for the consequences of his actions, we find we deeply care for him.

That’s all still to come, though. To begin with, we haven’t the faintest idea what Sidney is up to in his dark little corner of the laboratory at Corland Mills, his experiment tooting and plooting and bubbling away, confounding anyone to guess at its true purpose. Only Daphne Birnley (Joan Greenwood), daughter to one mill owner (Cecil Parker) and engaged to another (Michael Gough) even bothers to notice Sidney exists.

After several false starts at mills all over the country, Sidney finally perfects his formula at Birnley’s, working as an unpaid researcher so his name cannot appear on the books. Only Daphne, who had spotted him working at Corland’s previously, tumbles to his ruse. Sidney only just stops her from spilling a great many beans to her father, explaining the unprecendented significance of his work to her.

There’s something about the way director Alexander Mackendrick lingers on Daphne’s softened expression. Sidney is bumbling on about long chain molecules, but we see something else. We see, as she does, this weirdly wonderful little man for the first time, coming to life as he holds forth on the things that really matter to him. It’s to Joan Greenwood’s immense credit that we read every hint of fascination and wonder and affection for this man in those feline features of hers.

She and Guinness give some of their very best performances, skewing very subtle, far beyond most of their comedy contemporaries’ abilities. For all Joan Greenwood’s sultry looks and seductive purrs, she elevates Daphne Birnley above the typical functionality of a mere love interest role. Her own quirks and eccentricities offer new angles and alternatives to the usual hanging-on-the-hero’s-sleeve routine. Her character may not be a world-class chemist like Sidney, but she immediately dives into the nearest encyclopaedia in an attempt to educate herself about the possibilities of his discovery.

As this discovery gains momentum, certain vested interests start to take notice. Textile multi-millionaire/warmed up corpse Sir John Kierlaw (Ernest Thesiger) appears with a warning to get a hold on Sidney and his invention, before it puts them all out of business. Similarly, the mill’s Works Committee cry havoc at the prospect of ever-lasting unemployment. For once, Capital and Labour are in agreement: Sidney Stratton must be stopped.

With the world against him, it’s easy to root for the underdog here and cheer Sidney on as he runs through the dark cobbled streets, shining in his luminescent suit for all his pursuers to see. Yes, it’s that classic Ealing trope, the all-cast chase on foot. And why not? It’s a marvellously visual device, with dozens upon dozens of angry people in black chasing a lone man in white. Ultimately, we’re brought crashing back down to Earth with the reality of that unsoilable white suit, when Sidney begs his landlady to hide him and she turns on him:

“Why can’t you scientists leave things alone? What about my bit of washing, when there’s no washing to do?”

The Man in the White Suit is classic Mackendrick, avoiding Ealing’s usual rosy-cheeked portrayal of British life and getting down to the hilarious facts of life. Who else could offer a tycoon laughing like a leaky gas pipe, scheduled office explosions, or even a roomful of men too embarrassed to ask a woman to seduce their prisoner? This isn’t your average movie-with-a-message. This isn’t your average anything. Go on. Try it on for size.

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

Simon Moore is a budding screenwriter, passionate about films both current and classic. He has a strong comedy leaning with an inexplicable affection for 80s montages and movies that you can’t quite work out on the first viewing.

New image of Matt Damon in Elysium

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Matt Damon’s new sci-fi movie Elysium was initially due for release in March 2013 but was pushed back to August 2013, which shows Sony has faith in this film becoming a big summer blockbuster.


Today, thanks to Screen Crush, we've been treated to a new image featuring Damon looking pretty intense - and so would you be if you were living in 2159 where two classes of people are divided and the wealthy live on a man-made space station called Elysium while the rest of the humans inhabit an overpopulated and disheveled Earth, which is the premise of the new film by District 9 creator Neill Blomkamp. Damon plays a man who is forced to become a cyborg and travel to Elysium to retrieve a cure that would save his life. Here's the official synopsis:

"In the year 2159 two classes of people exist: the very wealthy who live on a pristine man-made space station called Elysium, and the rest, who live on an overpopulated, ruined Earth. Secretary Rhodes (Jodie Foster), a hard line government official, will stop at nothing to enforce anti-immigration laws and preserve the luxurious lifestyle of the citizens of Elysium. That doesn’t stop the people of Earth from trying to get in, by any means they can. When unlucky Max (Matt Damon) is backed into a corner, he agrees to take on a daunting mission that if successful will not only save his life, but could bring equality to these polarized worlds."

Elysium also stars Jodie Foster (The Silence of the Lambs), Sharlto Copley (District 9), William Fichtner (The Dark Night) and Diego Luna (Casa de mi Padre) and opens in North America on August 9th, 2013 ahead of a UK release on September 20th. 
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