TRASH IN MY EYE No. 23 (of 2013) by Leroy Douresseaux
Easy Money (2012)
Snabba Cash (2010) – original title
COUNTRY OF ORIGIN: Sweden; Language: Swedish and others
Running time: 125 minutes (2 hour, 5 minutes)
MPAA – R for strong violence, pervasive language, drug content and some sexuality
DIRECTOR: Daniel Espinosa
WRITERS: Maria Karlsson with Hassan Loo Sattarvandi, Fredrik Wikström, and Daniel Espinosa (based on the novel by Jens Lapidus)
PRODUCER: Fredrik Wikström
CINEMATOGRAPHER: Aril Wretblad
EDITOR: Theis Schmidt
COMPOSER: Jon Ekstrand
CRIME/DRAMA/THRILLER
Starring: Joel Kinnaman, Matias Padin Varela, Dragomir Mrsic, Lisa Henni, Mahmut Suvakci, Jones Danko, Lea Stojanov, Dejan Cukic, Annika Ryberg Whittembury, Fares Fares, and Maxim Kovalevski
Snabba Cash is a 2010 Swedish crime thriller from director Daniel Espinosa. In 2012, it was released in the United States as Easy Money. The film is based on Snabba cash, a 2006 novel by Jens Lapidus, a Swedish author and criminal defense attorney. The film follows a poor college student who becomes involved with drug dealers in order to maintain his double life.
Johan “JW” Westlund (Joel Kinnaman) is a promising student at the Stockholm School of Economics, but he leads a double life. JW is a poor man pretending to be a rich man in the upper class areas of Stockholm. He illegally drives a taxi and does odd jobs for shady businessman, Abdulkarim (Mahmut Suvakci), in order to earn the money that helps him keep up the façade of his pretend lifestyle. After he meets wealthy heiress, Sophie (Lisa Henni), JW believes that he needs more money and is lured into Abdulkarim’s world of drug dealing and violence.
Jorge Salinas (Matias Padin Varela) is a fugitive from prison, on the run from both the police and Serbian mobsters. Jorge hopes to broker a massive drug deal with Abdulkarim that will allow him to leave a life of crime forever. Mrado (Dragomir Mrsic) is a hit man and errand boy for Radovan (Dejan Cukic), a Yugoslavian mafia boss based in Sweden. Radovan sends Mrado on a hunt for Jorge, but Mrado’s efforts are complicated by the unexpected arrival of his 8-year-old daughter, Lovisa (Lea Stojanov). JW’s life becomes entangled with Jorge and Mrado in a dramatic struggle for life and death.
The press material for Easy Money’s DVD release declares “Martin Scorsese’s Presents ‘Easy Money’.” I can see why Scorsese might admire Easy Money. Director Francis Ford Coppola created the epic film series, The Godfather, which detailed the drama of American mafia royalty. However, Scorsese’s epic crime dramas, like Goodfellas (1990) and Casino (1995), center on the mob’s middle-management and assorted street-level types, like capos, local bosses, hit men, enforcers, and armed robbers. In his bid to win the heart of a rich girl and enter the world of the well-to-do, JW follows the easy money breadcrumb trail to a Goodfellas-like life. This is a darker side of the lower-class, one that can be unfamiliar, even to one of JW’s working-class roots.
Like Scorsese’s crime films, Easy Money is a tale of complicated, messy relationships between men who are criminals. Some of these relationships are born out of long held associations; others come about when men unite because of necessity. That’s what makes this movie so brutally real – the character drama that focuses on the bonds of men, bonds that are convincingly authentic to the viewer.
Director Daniel Espinosa wowed people with his 2012 Denzel Washington-Ryan Reynolds international thriller, Safe House, by unveiling the complexities of both Washington and Ryan’s characters. In Easy Money, Espinosa has a lead character in JW, but he turns his film into something like an ensemble character drama with JW as an axis. Thus, Espinosa gets strong, leading man-type performances from the rest of the cast, especially Matias Padin Varela as Jorge and Dragomir Mrsic as Mrado, in addition to the intense turn from Joel Kinnaman, who does his fiercest hawk-like face for the camera.
One glaring weakness of Easy Money is the relationship between JW and Sophie, which doesn’t make sense. Where are the scenes that convince us that Sophie would be so crazy-in-love with JW? Yeah, it’s cool that Sophie is ultimately a down-ass chick, but it’s difficult to see in the film where, when, or why that happened.
Easy Money is not an art house foreign film. It plays like the best of the big boys of American crime films. This isn’t a slick tale about cool anti-heroes and murderous hoods, like The Fast and the Furious. Easy Money follows in the footsteps of Scorsese and even Quentin Tarantino. The language barrier can’t stop the easy-to-like and hard-to-resist Easy Money from entertaining crime film fans the world over.
8 of 10
A
Monday, March 25, 2013
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Wednesday, March 27, 2013
"Easy Money" Finds the Mean Streets of Stockholm
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Tuesday, March 26, 2013
New "World War Z" Poster
Release Date: JUNE 2013
OFFICIAL SITE: WWW.WORLDWARZMOVIE.COM
https://twitter.com/WorldWarZMovie
https://www.facebook.com/WorldWarZMovie?fref=ts
The story revolves around United Nations employee Gerry Lane (Brad Pitt), who traverses the world in a race against time to stop a pandemic that is toppling armies and governments and threatening to decimate humanity itself.
Up-and-Comers Headline "Lotus Eaters"
LOTUS EATERS
WRITTEN AND DIRECTED By Alexandra McGuinness
STARRING: Antonia Campbell-Hughes, Johnny Flynn, and Benn Northover
SYNOPSIS:
LOTUS EATERS features a cast of young up-and-comers lead by Antonia Campbell-Hughes, a former fashion model; Johnny Flynn, lead singer of the popular English folk-rock band Johnny Flynn & The Sussex Wit and Benn Northover, who appeared in a number of acclaimed films including Kidnapped Abroad and Harry Potter and the Deathly Hollows.
The film, the directorial debut of Alexandra McGuinness, follows a group of young Londoners as they struggle to find meaning in their lives while masking their discontent with sex, drugs, and rock ‘n roll. The story centers on ex-model and aspiring actress Alice (Antonia Campbell-Hughes) as she struggles with her relationship with Charlie (Johnny Flynn), her drug-addicted ex-boyfriend. The fashionable group of friends epitomizes a new modern “lost generation” reminiscent of Ernest Hemingway and his cohorts
Running Time: 78 minutes
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Sundance London Adds Matthew McConaughey Movie to Schedule
SUNDANCE LONDON ADDS THREE FEATURE FILMS
Tickets now on sale at www.sundance-london.com
Sundance Institute and The O2 announced today that three feature films have been added to the programme for the second Sundance London film and music festival, 25-28 April at The O2. They are: A.C.O.D. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman), Mud (Director and screenwriter: Jeff Nichols) and Metro Manila (Director: Sean Ellis, Screenwriters: Sean Ellis, Frank E. Flowers). Tickets for all Sundance London films and panels, including those announced on March 11, are now on sale at www.sundance-london.com.
Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming. Including the three films announced today, Sundance London will present 21 feature films and nine short films across four sections, including a new UK Spotlight. Of the 30 films in the festival, 26 films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards, including two Audience Awards, when they premiered at the Sundance Film Festival.
John Cooper, Director of the Sundance Film Festival, said, “With the addition of these three films, Sundance London will present an even more well rounded programme of independent films that represents the work we show at our Festival in Utah. In addition, each offers audiences a unique experience to interact with the artists behind exciting, challenging and entertaining work.”
For more information visit www.sundance-london.com or follow @SundancefestUK on Twitter.
FEATURE FILM PROGRAMME — The international and UK premieres of American independent narrative and documentary films that premiered in January at the 2013 Sundance Film Festival in Park City, Utah, U.S.A.
A.C.O.D. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman) — Carter is a well-adjusted Adult Child of Divorce. So he thinks. When he discovers he was part of a divorce study as a child, it wreaks havoc on his family and forces him to face his chaotic past. Cast: Adam Scott, Richard Jenkins, Catherine O'Hara, Amy Poehler, Mary Elizabeth Winstead, Clark Duke. (Narrative) International Premiere
Mud (Director and screenwriter: Jeff Nichols) — Two teenage boys encounter a fugitive and form a pact to help him evade the bounty hunters on his trail and reunite him with his true love. Cast: Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon. (Narrative) UK Premiere
UK SPOTLIGHT — Drawing on the Sundance Film Festival’s rich legacy of premiering outstanding films produced in the UK – including An Education, Four Weddings and a Funeral, In Bruges, In the Loop, Kinky Boots, and Lock, Stock, and Two Smoking Barrels – this new showcase presents a selection of UK films that premiered in Park City, Utah.
Metro Manila (Director: Sean Ellis, Screenwriters: Sean Ellis, Frank E. Flowers) — Seeking a better life, Oscar and his family move from the poverty-stricken rice fields to the big city of Manila, where they fall victim to various inhabitants whose manipulative ways are a daily part of city survival. Cast: Jake Macapagal, John Arcilla, Althea Vega. Winner of the Audience Award: World Cinema Dramatic at the 2013 Sundance Film Festival. (Narrative) International Premiere
Tickets now on sale at www.sundance-london.com
Sundance Institute and The O2 announced today that three feature films have been added to the programme for the second Sundance London film and music festival, 25-28 April at The O2. They are: A.C.O.D. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman), Mud (Director and screenwriter: Jeff Nichols) and Metro Manila (Director: Sean Ellis, Screenwriters: Sean Ellis, Frank E. Flowers). Tickets for all Sundance London films and panels, including those announced on March 11, are now on sale at www.sundance-london.com.
Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming. Including the three films announced today, Sundance London will present 21 feature films and nine short films across four sections, including a new UK Spotlight. Of the 30 films in the festival, 26 films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards, including two Audience Awards, when they premiered at the Sundance Film Festival.
John Cooper, Director of the Sundance Film Festival, said, “With the addition of these three films, Sundance London will present an even more well rounded programme of independent films that represents the work we show at our Festival in Utah. In addition, each offers audiences a unique experience to interact with the artists behind exciting, challenging and entertaining work.”
For more information visit www.sundance-london.com or follow @SundancefestUK on Twitter.
FEATURE FILM PROGRAMME — The international and UK premieres of American independent narrative and documentary films that premiered in January at the 2013 Sundance Film Festival in Park City, Utah, U.S.A.
A.C.O.D. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman) — Carter is a well-adjusted Adult Child of Divorce. So he thinks. When he discovers he was part of a divorce study as a child, it wreaks havoc on his family and forces him to face his chaotic past. Cast: Adam Scott, Richard Jenkins, Catherine O'Hara, Amy Poehler, Mary Elizabeth Winstead, Clark Duke. (Narrative) International Premiere
Mud (Director and screenwriter: Jeff Nichols) — Two teenage boys encounter a fugitive and form a pact to help him evade the bounty hunters on his trail and reunite him with his true love. Cast: Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon. (Narrative) UK Premiere
UK SPOTLIGHT — Drawing on the Sundance Film Festival’s rich legacy of premiering outstanding films produced in the UK – including An Education, Four Weddings and a Funeral, In Bruges, In the Loop, Kinky Boots, and Lock, Stock, and Two Smoking Barrels – this new showcase presents a selection of UK films that premiered in Park City, Utah.
Metro Manila (Director: Sean Ellis, Screenwriters: Sean Ellis, Frank E. Flowers) — Seeking a better life, Oscar and his family move from the poverty-stricken rice fields to the big city of Manila, where they fall victim to various inhabitants whose manipulative ways are a daily part of city survival. Cast: Jake Macapagal, John Arcilla, Althea Vega. Winner of the Audience Award: World Cinema Dramatic at the 2013 Sundance Film Festival. (Narrative) International Premiere
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Academy Announces Date for 2014 Oscar Ceremony
THE ACADEMY SELECTS 2014 AND 2015 SHOW DATES
KEY DATES ANNOUNCED FOR THE OSCARS®
BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences and the ABC Television Network today announced the dates for the 86th and 87th Oscar® presentations. The 86th and 87th Academy Awards® will air live on ABC on Oscar Sunday, March 2, 2014, and February 22, 2015, respectively.
Key dates for the Awards season are:
Saturday, November 16, 2013: The Governors Awards
Monday, December 2, 2013: Official Screen Credits due
Friday, December 27, 2013: Nominations voting begins
Wednesday, January 8, 2014: Nominations voting ends 5 p.m. PT
Thursday, January 16, 2014: Oscar nominations announced
Monday, February 10, 2014: Nominees Luncheon
Friday, February 14, 2014: Final voting begins
Saturday, February 15, 2014: Scientific and Technical Awards
Tuesday, February 25, 2014: Final voting ends 5 p.m. PT
Oscar Sunday, March 2, 2014: 86th Academy Awards
Oscar Sunday, February 22, 2015: 87th Academy Awards
The 86th and 87th Academy Awards ceremonies will be held at the Dolby Theatre™ at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network.
KEY DATES ANNOUNCED FOR THE OSCARS®
BEVERLY HILLS, CA – The Academy of Motion Picture Arts and Sciences and the ABC Television Network today announced the dates for the 86th and 87th Oscar® presentations. The 86th and 87th Academy Awards® will air live on ABC on Oscar Sunday, March 2, 2014, and February 22, 2015, respectively.
Key dates for the Awards season are:
Saturday, November 16, 2013: The Governors Awards
Monday, December 2, 2013: Official Screen Credits due
Friday, December 27, 2013: Nominations voting begins
Wednesday, January 8, 2014: Nominations voting ends 5 p.m. PT
Thursday, January 16, 2014: Oscar nominations announced
Monday, February 10, 2014: Nominees Luncheon
Friday, February 14, 2014: Final voting begins
Saturday, February 15, 2014: Scientific and Technical Awards
Tuesday, February 25, 2014: Final voting ends 5 p.m. PT
Oscar Sunday, March 2, 2014: 86th Academy Awards
Oscar Sunday, February 22, 2015: 87th Academy Awards
The 86th and 87th Academy Awards ceremonies will be held at the Dolby Theatre™ at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network.
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Sunday, March 24, 2013
Disney XD Welcomes "Max Steel" March 25 2013
Action-Packed Animated Series Max Steel™ Premieres Monday, March 25, at 4PM (ET/PT)
TV’s Newest Turbo-Charged Superhero Debuts With 26-Episode Series on Disney XD
EL SEGUNDO, Calif.--(BUSINESS WIRE)--Mattel (NASDAQ:MAT) brings its latest action hero property to boys across the country with Max Steel™, a new CGI animated TV series premiering on Monday, March 25 at 4 p.m. (ET/PT) on Disney XD. The Max Steel animated series follows the life and times of a teenage boy named Maxwell McGrath™ and his out-of-this-world alien companion, Steel, as they overcome trials and tribulations, demonstrating teamwork and perseverance along the way.
“It’s the perfect time to introduce kids to a modern day tech superhero they can relate to,” said Matt Petersen, vice president of North America boys marketing, Mattel. "Max Steel is an exciting CGI-animated series that focuses on humor, friendship and teamwork with a positive message that empowers kids to unlock their greatest potential.”
Get to Know Max Steel:
The Max Steel CGI animated TV series revolves around the story of 16 year-old student Maxwell McGrath, and his alien friend Steel. Both are faced with the challenge of conquering their super strengths and powers — Max learning to manage his Turbo energy and Steel possessing alien intellect. When they ultralink together, Steel helps Max unlock a power so great they can take on the universe. As Max balances his double life of normal teenager by day, and world-saver by night, he learns the value of trust, and right versus wrong — enlisting the help of close friends along the way. Viewers of the animated TV series will witness laughter and friendship as Max and Steel discover the importance of their collaboration in their action-packed adventures.
The TV series is the cornerstone of an entire multi-platform action-adventure entertainment franchise from Mattel and is co-produced by FremantleMedia Kids & Family Entertainment — a worldwide leader in the family entertainment business. Max Steel also has a dynamic web destination, featuring interactive gameplay, videos and character engagement.
Max Steel fans are being introduced to the series through a cinematic trailer in a breakthrough mix of live action and animation directed by acclaimed director, Stephen Sommers (The Mummy). The groundbreaking trailer has already begun airing on Disney Channel and Disney XD.
Following its Latin America, Canada and now U.S. TV debut, the Max Steel animated TV series will roll out in more than 100 territories globally in major markets including, UK, France, Italy, Spain, Germany, Australia, New Zealand, India, China, Hong Kong, Central and Eastern Europe, Africa, the Middle East and Turkey.
About Max Steel
Developed by Mattel, Inc., Max Steel is an immersive franchise that brings a positive and relatable superhero to kids, supported by a captivating storyline and compelling multi-platform content for today’s tech-forward kid. Featuring an animated superhero series, Max Steel draws upon turbo-charged teamwork, laughter and friendship to help kids overcome life’s obstacles — from the everyday, to the out-of-this-world. With worldwide distribution partners, the franchise launches include content and a robust portfolio spanning toys, digital platforms and consumer products. For more information, visit www.maxsteel.com.
About FremantleMedia
FremantleMedia is one of the leading creators, producers and distributors of television entertainment brands in the world. FremantleMedia is part of RTL Group, the leading European entertainment network, which is in turn 92 percent owned by the international media company Bertelsmann. FremantleMedia is responsible for many of the world’s highest rated prime time entertainment, drama, serial drama, factual entertainment and kids & family programming, with market leading capabilities that extend from content creation to licensing, digital and branded entertainment, gaming and home entertainment. The FremantleMedia Group (which includes FremantleMedia North America, UFA, FremantleMedia UK, FremantleMedia Australia, Ludia, @radical.media and Original Productions, among others) has one of the most comprehensive global networks with operations in 22 countries, creating over 9,200 hours of programming a year, rolling out more than 60 formats and managing over 300 individual titles. The company also distributes more than 20,000 hours of content in over 150 countries. FremantleMedia has some of the world’s most sought after and long running formats in its catalogue, and globally produces such programmes as: Idols (co-produced with 19 Productions in the US), Hole In The Wall, Got Talent (co-produced with Syco in the UK and the US), The X Factor (co-produced with Syco in the UK and the US), Take Me Out, Family Feud, The Price is Right, Farmer Wants A Wife, Gute Zeiten Schlechte Zeiten, and Neighbours. www.fremantlemedia.com
About FremantleMedia Kids & Family Entertainment
FremantleMedia Kids & Family Entertainment was founded in 2009 and has quickly become a worldwide leader in the family entertainment business. With 15 titles in production in collaboration with top producers on four continents, FremantleMedia Kids & Family Entertainment is already one of the most prolific independent producers and distributors of content in the sector today. Its growing portfolio of content spans across four key genres: preschool, kids comedy, action/adventure and tween/teen fare. FremantleMedia Kids & Family Entertainment is bringing to networks around the world innovative and exciting shows for television and new media platforms that feature live-action, 2D animation, CGI, stop-motion, puppetry and real-time animation with programming targeting demographics ranging in scope from preschool through high school.
*Max Steel emerging as No. 1 Boys Brand in Latin America (Nielsen 2011)
TV’s Newest Turbo-Charged Superhero Debuts With 26-Episode Series on Disney XD
EL SEGUNDO, Calif.--(BUSINESS WIRE)--Mattel (NASDAQ:MAT) brings its latest action hero property to boys across the country with Max Steel™, a new CGI animated TV series premiering on Monday, March 25 at 4 p.m. (ET/PT) on Disney XD. The Max Steel animated series follows the life and times of a teenage boy named Maxwell McGrath™ and his out-of-this-world alien companion, Steel, as they overcome trials and tribulations, demonstrating teamwork and perseverance along the way.
“It’s the perfect time to introduce kids to a modern day tech superhero they can relate to,” said Matt Petersen, vice president of North America boys marketing, Mattel. "Max Steel is an exciting CGI-animated series that focuses on humor, friendship and teamwork with a positive message that empowers kids to unlock their greatest potential.”
Get to Know Max Steel:
The Max Steel CGI animated TV series revolves around the story of 16 year-old student Maxwell McGrath, and his alien friend Steel. Both are faced with the challenge of conquering their super strengths and powers — Max learning to manage his Turbo energy and Steel possessing alien intellect. When they ultralink together, Steel helps Max unlock a power so great they can take on the universe. As Max balances his double life of normal teenager by day, and world-saver by night, he learns the value of trust, and right versus wrong — enlisting the help of close friends along the way. Viewers of the animated TV series will witness laughter and friendship as Max and Steel discover the importance of their collaboration in their action-packed adventures.
The TV series is the cornerstone of an entire multi-platform action-adventure entertainment franchise from Mattel and is co-produced by FremantleMedia Kids & Family Entertainment — a worldwide leader in the family entertainment business. Max Steel also has a dynamic web destination, featuring interactive gameplay, videos and character engagement.
Max Steel fans are being introduced to the series through a cinematic trailer in a breakthrough mix of live action and animation directed by acclaimed director, Stephen Sommers (The Mummy). The groundbreaking trailer has already begun airing on Disney Channel and Disney XD.
Following its Latin America, Canada and now U.S. TV debut, the Max Steel animated TV series will roll out in more than 100 territories globally in major markets including, UK, France, Italy, Spain, Germany, Australia, New Zealand, India, China, Hong Kong, Central and Eastern Europe, Africa, the Middle East and Turkey.
About Max Steel
Developed by Mattel, Inc., Max Steel is an immersive franchise that brings a positive and relatable superhero to kids, supported by a captivating storyline and compelling multi-platform content for today’s tech-forward kid. Featuring an animated superhero series, Max Steel draws upon turbo-charged teamwork, laughter and friendship to help kids overcome life’s obstacles — from the everyday, to the out-of-this-world. With worldwide distribution partners, the franchise launches include content and a robust portfolio spanning toys, digital platforms and consumer products. For more information, visit www.maxsteel.com.
About FremantleMedia
FremantleMedia is one of the leading creators, producers and distributors of television entertainment brands in the world. FremantleMedia is part of RTL Group, the leading European entertainment network, which is in turn 92 percent owned by the international media company Bertelsmann. FremantleMedia is responsible for many of the world’s highest rated prime time entertainment, drama, serial drama, factual entertainment and kids & family programming, with market leading capabilities that extend from content creation to licensing, digital and branded entertainment, gaming and home entertainment. The FremantleMedia Group (which includes FremantleMedia North America, UFA, FremantleMedia UK, FremantleMedia Australia, Ludia, @radical.media and Original Productions, among others) has one of the most comprehensive global networks with operations in 22 countries, creating over 9,200 hours of programming a year, rolling out more than 60 formats and managing over 300 individual titles. The company also distributes more than 20,000 hours of content in over 150 countries. FremantleMedia has some of the world’s most sought after and long running formats in its catalogue, and globally produces such programmes as: Idols (co-produced with 19 Productions in the US), Hole In The Wall, Got Talent (co-produced with Syco in the UK and the US), The X Factor (co-produced with Syco in the UK and the US), Take Me Out, Family Feud, The Price is Right, Farmer Wants A Wife, Gute Zeiten Schlechte Zeiten, and Neighbours. www.fremantlemedia.com
About FremantleMedia Kids & Family Entertainment
FremantleMedia Kids & Family Entertainment was founded in 2009 and has quickly become a worldwide leader in the family entertainment business. With 15 titles in production in collaboration with top producers on four continents, FremantleMedia Kids & Family Entertainment is already one of the most prolific independent producers and distributors of content in the sector today. Its growing portfolio of content spans across four key genres: preschool, kids comedy, action/adventure and tween/teen fare. FremantleMedia Kids & Family Entertainment is bringing to networks around the world innovative and exciting shows for television and new media platforms that feature live-action, 2D animation, CGI, stop-motion, puppetry and real-time animation with programming targeting demographics ranging in scope from preschool through high school.
*Max Steel emerging as No. 1 Boys Brand in Latin America (Nielsen 2011)
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Your Short Film Could Be in "The Lego Movie"
Online Video Contest Offers LEGO® Fans Worldwide a Chance to Place Their Own Work in the Upcoming 3D Animated Feature, “THE LEGO MOVIE”
Entries are Eligible for a Score of Prizes, and One Grand Prize Winner’s Creation Could Be Included in the 2014 Release
BURBANK, Calif.--(BUSINESS WIRE)--Beginning March 25, LEGO® fans registered worldwide on http://rebrick.com will have a one-of-a-kind, hands-on opportunity to take part in the growing excitement for “THE LEGO MOVIE” by creating a 15-30 second video clip based on its story, in the LEGO ReBrick Movie Competition. The winning video could be featured in the film, the first-ever, full-length theatrical LEGO adventure, from Warner Bros. Pictures and Village Roadshow Pictures, opening February 7, 2014.
The fan-produced clips will relate to an exciting scene in the film, in which the citizens of the LEGO universe rally to prevent an unspeakable disaster. They do this by quickly disassembling the elements of their environments, brick by brick, and rebuilding them into fantastic and fun hybrid vehicles and tools—the stranger and more innovative, the better, like rocket/dragons or butterfly/speedboats—to take part in an epic battle.
Using only LEGO bricks and non-licensed LEGO minifigures, contestants will select a character and set their action sequence in one of their favorite LEGO worlds, such as LEGO City, Space, Pirates, Western, Vikings, Dino, Castle, and others. After building and recording their LEGO designs, they will upload the video to YouTube, and bookmark it on the rebrick.com Building Challenge page, where it will be open for voting from the entire ReBrick membership. The 25 videos earning the most “Likes” will ultimately be reviewed for creativity, originality, theme and suitability for the film by a panel of judges, including Phil Lord and Christopher Miller, writers/directors of “THE LEGO MOVIE.”
The Grand Prize winner will receive a trip for two to Warner Bros. Studios in Burbank, California, for a VIP Tour; a meeting with the directors, to participate in a LEGO build; an exclusive LEGO film camera designed and built by the official LEGO model shop; plus souvenir items from the movie’s set, signed by the designers. His or her winning entry may also be edited into the film’s big battle sequence. Second and third place winners will also be honored, as well as winners of bi-weekly prizes selected during the challenge’s six-week run, for a range of additional prizes, including tickets to the Studio’s tour, “THE LEGO MOVIE” merchandise, a $200 gift card for the Studio’s online store, and a feature spot on The Official LEGO Channel on YouTube.
All entrants must be at least 16 years old and be registered on the LEGO fansite http://rebrick.com. Submissions will be accepted from March 25, 2013, at 9:00 A.M., until May 6, 2013, at 8:59 A.M., EDT. Videos must be between 15-30 seconds and be captured using a camera that is at least 3.2 megapixels, and framed to fit within a 2.40:1 aspect ratio. Submissions must contain only LEGO elements and figures with no customized parts, must follow the ReBrick House Rules, and must be suitable for children.
Local regulations and complete prizing information can be found on the Contest Rules page at http://rebrick.it/Contest, with additional guidelines, examples and updates available at microsite http://rebrick.it/LEGOMovie.
Winners will be announced on May 20, 2013.
“THE LEGO MOVIE” opens in theaters February 7, 2014. The 3D computer animated adventure tells the story of Emmet, an ordinary, rules-following, perfectly average LEGO minifigure who is mistakenly identified as the most extraordinary person and the key to saving the world. He is drafted into a fellowship of strangers on an epic quest to stop an evil tyrant, a journey for which Emmet is hopelessly and hilariously underprepared.
“THE LEGO MOVIE” stars Chris Pratt, Will Ferrell, Elizabeth Banks, Liam Neeson, Will Arnett, Nick Offerman, Alison Brie and Morgan Freeman as the voices of the animated characters. The film is directed by Phil Lord & Christopher Miller (“21 Jump Street,” “Cloudy with a Chance of Meatballs”) from their original screenplay, and story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO construction toys. It will incorporate some of the LEGO world’s most popular figures while introducing several new characters, inviting fans who have enjoyed the brand’s innovative toys and hugely popular video games for generations to experience their visually unique LEGO world as never seen before.
The film will be produced by Dan Lin (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”) and Roy Lee (“The Departed,” “How to Train Your Dragon”).
LEGO, its logo, brick & knob configuration and the Minifigure are trademarks of The LEGO Group. ©2013 The LEGO Group. All rights reserved.
Entries are Eligible for a Score of Prizes, and One Grand Prize Winner’s Creation Could Be Included in the 2014 Release
BURBANK, Calif.--(BUSINESS WIRE)--Beginning March 25, LEGO® fans registered worldwide on http://rebrick.com will have a one-of-a-kind, hands-on opportunity to take part in the growing excitement for “THE LEGO MOVIE” by creating a 15-30 second video clip based on its story, in the LEGO ReBrick Movie Competition. The winning video could be featured in the film, the first-ever, full-length theatrical LEGO adventure, from Warner Bros. Pictures and Village Roadshow Pictures, opening February 7, 2014.
The fan-produced clips will relate to an exciting scene in the film, in which the citizens of the LEGO universe rally to prevent an unspeakable disaster. They do this by quickly disassembling the elements of their environments, brick by brick, and rebuilding them into fantastic and fun hybrid vehicles and tools—the stranger and more innovative, the better, like rocket/dragons or butterfly/speedboats—to take part in an epic battle.
Using only LEGO bricks and non-licensed LEGO minifigures, contestants will select a character and set their action sequence in one of their favorite LEGO worlds, such as LEGO City, Space, Pirates, Western, Vikings, Dino, Castle, and others. After building and recording their LEGO designs, they will upload the video to YouTube, and bookmark it on the rebrick.com Building Challenge page, where it will be open for voting from the entire ReBrick membership. The 25 videos earning the most “Likes” will ultimately be reviewed for creativity, originality, theme and suitability for the film by a panel of judges, including Phil Lord and Christopher Miller, writers/directors of “THE LEGO MOVIE.”
The Grand Prize winner will receive a trip for two to Warner Bros. Studios in Burbank, California, for a VIP Tour; a meeting with the directors, to participate in a LEGO build; an exclusive LEGO film camera designed and built by the official LEGO model shop; plus souvenir items from the movie’s set, signed by the designers. His or her winning entry may also be edited into the film’s big battle sequence. Second and third place winners will also be honored, as well as winners of bi-weekly prizes selected during the challenge’s six-week run, for a range of additional prizes, including tickets to the Studio’s tour, “THE LEGO MOVIE” merchandise, a $200 gift card for the Studio’s online store, and a feature spot on The Official LEGO Channel on YouTube.
All entrants must be at least 16 years old and be registered on the LEGO fansite http://rebrick.com. Submissions will be accepted from March 25, 2013, at 9:00 A.M., until May 6, 2013, at 8:59 A.M., EDT. Videos must be between 15-30 seconds and be captured using a camera that is at least 3.2 megapixels, and framed to fit within a 2.40:1 aspect ratio. Submissions must contain only LEGO elements and figures with no customized parts, must follow the ReBrick House Rules, and must be suitable for children.
Local regulations and complete prizing information can be found on the Contest Rules page at http://rebrick.it/Contest, with additional guidelines, examples and updates available at microsite http://rebrick.it/LEGOMovie.
Winners will be announced on May 20, 2013.
“THE LEGO MOVIE” opens in theaters February 7, 2014. The 3D computer animated adventure tells the story of Emmet, an ordinary, rules-following, perfectly average LEGO minifigure who is mistakenly identified as the most extraordinary person and the key to saving the world. He is drafted into a fellowship of strangers on an epic quest to stop an evil tyrant, a journey for which Emmet is hopelessly and hilariously underprepared.
“THE LEGO MOVIE” stars Chris Pratt, Will Ferrell, Elizabeth Banks, Liam Neeson, Will Arnett, Nick Offerman, Alison Brie and Morgan Freeman as the voices of the animated characters. The film is directed by Phil Lord & Christopher Miller (“21 Jump Street,” “Cloudy with a Chance of Meatballs”) from their original screenplay, and story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO construction toys. It will incorporate some of the LEGO world’s most popular figures while introducing several new characters, inviting fans who have enjoyed the brand’s innovative toys and hugely popular video games for generations to experience their visually unique LEGO world as never seen before.
The film will be produced by Dan Lin (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”) and Roy Lee (“The Departed,” “How to Train Your Dragon”).
LEGO, its logo, brick & knob configuration and the Minifigure are trademarks of The LEGO Group. ©2013 The LEGO Group. All rights reserved.
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Saturday, March 23, 2013
Michael Moore, Anniversaries, and Old Movie Reviews
by Leroy Douresseaux
Today is the 10th anniversary of the 75th Academy Awards, which occurred on a Sunday night on March 23, 2002. Steve Martin hosted the Oscar ceremony for the second time. Chicago won “Best Picture,” one of its six wins (after receiving a leading 13 nominations). This was also the night that a hip hop song won the best song Oscar for the first time (“Lose Yourself” performed by Eminem and written by Eminem, Jeff Bass, and Luis Resto).
Probably the most memorable event was the acceptance speech by Michael Moore, who won the Oscar for “Best Documentary Feature” with Michael Donovan for the film, Bowling for Columbine. Moore invited his fellow nominees on stage and spoke about the then-recently started Iraq War:
"We live in fictitious times. We live in the time where we have fictitious election results, that elect a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fiction of duct tape or fiction of orange alerts, we are against this war, Mr. Bush. Shame on you, Mr. Bush! Shame on you! And any time you got the Pope and the Dixie Chicks against you, your time is up! Thank you very much!"
I still love that acceptance speech, and it’s one of my favorites. Anyway, I’m still doing some house cleaning. As you noticed, I posted reviews for Lilo & Stitch and The Wild Thornberrys Movie. They were the last two reviews of films nominated for the 75th Academy Awards that were posted on the original site, but had not been moved to the new Negromancer. Welcome.
By the way, Moore is holding a nationwide series of house parties tonight, in which people will get together and watch Bowling for Columbine. For more information, go here.
Today is the 10th anniversary of the 75th Academy Awards, which occurred on a Sunday night on March 23, 2002. Steve Martin hosted the Oscar ceremony for the second time. Chicago won “Best Picture,” one of its six wins (after receiving a leading 13 nominations). This was also the night that a hip hop song won the best song Oscar for the first time (“Lose Yourself” performed by Eminem and written by Eminem, Jeff Bass, and Luis Resto).
Probably the most memorable event was the acceptance speech by Michael Moore, who won the Oscar for “Best Documentary Feature” with Michael Donovan for the film, Bowling for Columbine. Moore invited his fellow nominees on stage and spoke about the then-recently started Iraq War:
"We live in fictitious times. We live in the time where we have fictitious election results, that elect a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fiction of duct tape or fiction of orange alerts, we are against this war, Mr. Bush. Shame on you, Mr. Bush! Shame on you! And any time you got the Pope and the Dixie Chicks against you, your time is up! Thank you very much!"
I still love that acceptance speech, and it’s one of my favorites. Anyway, I’m still doing some house cleaning. As you noticed, I posted reviews for Lilo & Stitch and The Wild Thornberrys Movie. They were the last two reviews of films nominated for the 75th Academy Awards that were posted on the original site, but had not been moved to the new Negromancer. Welcome.
By the way, Moore is holding a nationwide series of house parties tonight, in which people will get together and watch Bowling for Columbine. For more information, go here.
Labels:
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Review: "Lilo and Stitch" a Delightful Surprise
TRASH IN MY EYE No. 21 (of 2003) by Leroy Douresseaux
Lilo & Stitch (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG for mild sci-fi action
DIRECTORS: Dean DeBlois and Chris Sanders
WRITERS: Dean DeBlois and Chris Sanders; from an idea by Chris Sanders
PRODUCER: Clark Spencer
EDITORS: Darren T. Holmes and Michael Kelly
COMPOSER: Alan Silvestri
Academy Award nominee
ANIMATION/COMEDY/FAMILY/SCI-FI/ACTION
Starring: (voice) Daveigh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, Zoe Caldwell, and Jason Scott Lee
The subject of this movie review is Lilo & Stitch, a 2002 animated science fiction and family film from Walt Disney Feature Animation. This hand-drawn (or 2D) animated film is the 42nd film in the Walt Disney Animated Classics series.
With the release of Mulan in 1998, Walt Disney’s animated films soared to new heights of artistry, and the craft of their storytelling also greatly improved. With that film, not only were Disney films glorious eye candy, their stories were also quite moving, dealing with such universal themes as loss, redemption, acceptance, and triumph.
In Lilo & Stitch, we leave behind the China of Mulan, the virgin jungle of Tarzan, and the sensational underground world of Atlantis, The Lost Empire to travel the interstellar space ways and lush landscapes of Hawaii. It’s a fantastic ride of eye-popping visuals that capture the imagination and create the perfect backdrop to tell this story of two loners and outcasts who find companionship in one another.
Genetic Experiment 626 (voice of Chris Sanders) is the most dangerous weapon in the galaxy, created by Dr. Jumba (voice of David Ogden Stiers) for the sole purpose of destroying civilizations. Marked for destruction by the United Galactic Federation, 626 makes his escape to earth. After a series of mishaps on this planet, 626 lands at a dog pound where a friendless little girl named Lilo (voice of Daveigh Chase) adopts him as a pet and names him Stitch. After their parents died, Lilo’s sister Nani (voice of Tia Carrere) took on the task of rearing her sister. She isn’t having much success, and Stitch’s arrival has complicated matters. Mr. Cobra Bubbles (voice of Ving Rhames), a strict social worker who cuts an imposing figure, also applies serious pressure on Nani to do a better job taking care of her small sister or risk losing her. With his creator on the trail to capture him and pressure on her sister to take better care of her, Stitch and Lilo have to bridge the gap of worlds and become the only friends each other has.
Like most Disney animated films, the fact that Lilo and Stitch is entertaining is a given. What makes it stand out is the story’s touching drama and the animation’s colorful bounty. Co-writers/co-directors Dean DeBlois and Chris Sanders created a story with much dramatic impact. I really felt Lilo’s loneliness and her desire to fit in with other children and Nani’s desperation to hold what was left of her family together. DeBlois and Sanders really work the audience because they didn’t make it easy for the characters to obtain their hearts’ desires, so we have to really pull for them. Nani keeps dropping the ball, and Lilo is a handful to rear, to say nothing of the fact that Stitch is not much of a pet and is hard to train. Each character’s needs keep getting in the way of what other characters need. All this struggle makes the pay off at the end all the more rewarding.
As for the animation – what more can I say about Disney’s work? The sci-fi element of this film is quite strong, and several scenes takes place in sci-fi settings, many of which feature complicated chase sequences involving masses of star ships. Computers provide the animation for the tech stuff, but the computer animation looks, for the most part, like traditional cel animation.
Lilo and Stitch is also a throwback in the use of the watercolor backgrounds. Combined with the character animation, Lilo looks as if it were made at the height of the golden age of animation. The blend of traditional and modern was so seamless that it amazed me. With Atlantis, it was clear that Disney animators can create battle and chase sequences that rival those in the best live action movies, and the chase at the end of Lilo affirms that.
Lilo & Stitch will certainly please the target audience for which Disney aims it, but I think everyone likes Disney animated features when they give them a chance. Lilo doesn’t have smart aleck gags to keep adults awake while they suffer through this film for the sake of a children. In fact, what adult would suffer from watching this film? It’s one of those movies with a story that reaches out to everyone. And it’s filled with Elvis Presley songs. Who can resist that?
8 of 10
A
NOTES:
2003 Academy Awards: 1 nomination: “Best Animated Feature” (Chris Sanders)
Lilo & Stitch (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG for mild sci-fi action
DIRECTORS: Dean DeBlois and Chris Sanders
WRITERS: Dean DeBlois and Chris Sanders; from an idea by Chris Sanders
PRODUCER: Clark Spencer
EDITORS: Darren T. Holmes and Michael Kelly
COMPOSER: Alan Silvestri
Academy Award nominee
ANIMATION/COMEDY/FAMILY/SCI-FI/ACTION
Starring: (voice) Daveigh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, Zoe Caldwell, and Jason Scott Lee
The subject of this movie review is Lilo & Stitch, a 2002 animated science fiction and family film from Walt Disney Feature Animation. This hand-drawn (or 2D) animated film is the 42nd film in the Walt Disney Animated Classics series.
With the release of Mulan in 1998, Walt Disney’s animated films soared to new heights of artistry, and the craft of their storytelling also greatly improved. With that film, not only were Disney films glorious eye candy, their stories were also quite moving, dealing with such universal themes as loss, redemption, acceptance, and triumph.
In Lilo & Stitch, we leave behind the China of Mulan, the virgin jungle of Tarzan, and the sensational underground world of Atlantis, The Lost Empire to travel the interstellar space ways and lush landscapes of Hawaii. It’s a fantastic ride of eye-popping visuals that capture the imagination and create the perfect backdrop to tell this story of two loners and outcasts who find companionship in one another.
Genetic Experiment 626 (voice of Chris Sanders) is the most dangerous weapon in the galaxy, created by Dr. Jumba (voice of David Ogden Stiers) for the sole purpose of destroying civilizations. Marked for destruction by the United Galactic Federation, 626 makes his escape to earth. After a series of mishaps on this planet, 626 lands at a dog pound where a friendless little girl named Lilo (voice of Daveigh Chase) adopts him as a pet and names him Stitch. After their parents died, Lilo’s sister Nani (voice of Tia Carrere) took on the task of rearing her sister. She isn’t having much success, and Stitch’s arrival has complicated matters. Mr. Cobra Bubbles (voice of Ving Rhames), a strict social worker who cuts an imposing figure, also applies serious pressure on Nani to do a better job taking care of her small sister or risk losing her. With his creator on the trail to capture him and pressure on her sister to take better care of her, Stitch and Lilo have to bridge the gap of worlds and become the only friends each other has.
Like most Disney animated films, the fact that Lilo and Stitch is entertaining is a given. What makes it stand out is the story’s touching drama and the animation’s colorful bounty. Co-writers/co-directors Dean DeBlois and Chris Sanders created a story with much dramatic impact. I really felt Lilo’s loneliness and her desire to fit in with other children and Nani’s desperation to hold what was left of her family together. DeBlois and Sanders really work the audience because they didn’t make it easy for the characters to obtain their hearts’ desires, so we have to really pull for them. Nani keeps dropping the ball, and Lilo is a handful to rear, to say nothing of the fact that Stitch is not much of a pet and is hard to train. Each character’s needs keep getting in the way of what other characters need. All this struggle makes the pay off at the end all the more rewarding.
As for the animation – what more can I say about Disney’s work? The sci-fi element of this film is quite strong, and several scenes takes place in sci-fi settings, many of which feature complicated chase sequences involving masses of star ships. Computers provide the animation for the tech stuff, but the computer animation looks, for the most part, like traditional cel animation.
Lilo and Stitch is also a throwback in the use of the watercolor backgrounds. Combined with the character animation, Lilo looks as if it were made at the height of the golden age of animation. The blend of traditional and modern was so seamless that it amazed me. With Atlantis, it was clear that Disney animators can create battle and chase sequences that rival those in the best live action movies, and the chase at the end of Lilo affirms that.
Lilo & Stitch will certainly please the target audience for which Disney aims it, but I think everyone likes Disney animated features when they give them a chance. Lilo doesn’t have smart aleck gags to keep adults awake while they suffer through this film for the sake of a children. In fact, what adult would suffer from watching this film? It’s one of those movies with a story that reaches out to everyone. And it’s filled with Elvis Presley songs. Who can resist that?
8 of 10
A
NOTES:
2003 Academy Awards: 1 nomination: “Best Animated Feature” (Chris Sanders)
Labels:
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Review: "The Wild Thornberrys Movie" More Than a Spin-Off
TRASH IN MY EYE No. 22 (of 2013) by Leroy Douresseaux
The Wild Thornberrys Movie (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA - PG for some adventure peril
DIRECTORS: Cathy Malkasian and Jeff McGrath
WRITER: Kate Boutilier (based upon the characters created by Arlene Klasky, Gabor Csupo, Steve Pepoon, David Silverman, and Stephen Sustarsic)
PRODUCERS: Arlene Klasky and Gabor Csupo
EDITOR: John Bryant
COMPOSERS: Randy Kerber, Drew Neumann, and Paul Simon
Academy Award nominee
ANIMATION/FANTASY/ADVENTURE/FAMILY
Starring: (voices) Lacy Chabert, Tom Kane, Cree Summer, Tim Curry, Lynn Redgrave, Jodi Carlisle, Danielle Harris, Flea, Crystal Scales, Kimberly Brooks, Alfre Woodard, Brock Peters, Marisa Tomei, and Rupert Everett
The subject of this movie review is The Wild Thornberrys Movie, a 2002 animated feature film. This hand-drawn (or 2D) animated movie is based on the long-running Nickelodeon animated TV series of the same title, The Wild Thornberrys.
The film's winning story finds The Thornberry clan on safari doing what they usually do. Nigel (Tim Curry), the father, hosts a nature show, and Marianne (Jodi Carlisle), the mother, films it. Elder daughter, Debbi (Danielle Harris), is annoyed to be in Africa instead of back in civilization. Adopted wild boy, Donnie (Flea), is doing his wild boy thing.
Eliza (Lacey Chabert), ostensibly the lead character, explores nature with Darwin (Tom Kane), her chimpanzee best friend. You see, Lacey rescued a tribal shaman and he bestowed upon her the magical gift of being able to talk to animals. When a poacher snatches a cheetah cub, Eliza and Darwin launch a daring rescue mission that takes them from Africa to England and back to Africa, where Eliza discovers that the poaching of the cub was just the beginning of a larger conspiracy to massacre thousands of elephants for their tusks.
That many people looked at this film upon its release in 2002 as merely a film spin-off of a TV show is a shame. The Wild Thornberrys Movie is simply a great animated feature film, especially when compared to 9 out of 10 American-produced animated films released since 2002. Producers Klasky-Csupo, the two directors, the screenwriter, and the creative staff envisioned a mini-epic that spans two continents and takes the viewers through a multitude of environments.
The thrilling action starts in sprawling grassland of Africa and heads to a boarding school in the English countryside. The sprawl of central London leads to a subway ride, which becomes a plane ride. Then, a train ride back to the plains of Africa leads deep into the jungle and finally into a hidden valley for the showdown. It's a breathtaking action adventure that recalls Raiders of the Lost Ark and the older films that inspired Raiders.
The voice acting is good top to bottom (although Chabert, Kane, and Harris are personal favorites), and the soundtrack is a tasty gumbo of world music and cross-cultural jams. The inventive character design captures both the fun and imagination of cartoons. The animation (by Korean studio Sunwoo Entertainment) moves in a smooth, brisk manner, and the digital color emphasizes earth tones and golden hues that are pitch perfect with this film's story and message. The Wild Thornberrys Movie, a treat for young and the young at heart, is both a pastoral and a call to get in touch with the wild.
9 of 10
A+
NOTES:
2003 Academy Awards: 1 nomination for "Best Music, Original Song" ("Father and Daughter" by Paul Simon)
Friday, March 22, 2013
The Wild Thornberrys Movie (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA - PG for some adventure peril
DIRECTORS: Cathy Malkasian and Jeff McGrath
WRITER: Kate Boutilier (based upon the characters created by Arlene Klasky, Gabor Csupo, Steve Pepoon, David Silverman, and Stephen Sustarsic)
PRODUCERS: Arlene Klasky and Gabor Csupo
EDITOR: John Bryant
COMPOSERS: Randy Kerber, Drew Neumann, and Paul Simon
Academy Award nominee
ANIMATION/FANTASY/ADVENTURE/FAMILY
Starring: (voices) Lacy Chabert, Tom Kane, Cree Summer, Tim Curry, Lynn Redgrave, Jodi Carlisle, Danielle Harris, Flea, Crystal Scales, Kimberly Brooks, Alfre Woodard, Brock Peters, Marisa Tomei, and Rupert Everett
The subject of this movie review is The Wild Thornberrys Movie, a 2002 animated feature film. This hand-drawn (or 2D) animated movie is based on the long-running Nickelodeon animated TV series of the same title, The Wild Thornberrys.
The film's winning story finds The Thornberry clan on safari doing what they usually do. Nigel (Tim Curry), the father, hosts a nature show, and Marianne (Jodi Carlisle), the mother, films it. Elder daughter, Debbi (Danielle Harris), is annoyed to be in Africa instead of back in civilization. Adopted wild boy, Donnie (Flea), is doing his wild boy thing.
Eliza (Lacey Chabert), ostensibly the lead character, explores nature with Darwin (Tom Kane), her chimpanzee best friend. You see, Lacey rescued a tribal shaman and he bestowed upon her the magical gift of being able to talk to animals. When a poacher snatches a cheetah cub, Eliza and Darwin launch a daring rescue mission that takes them from Africa to England and back to Africa, where Eliza discovers that the poaching of the cub was just the beginning of a larger conspiracy to massacre thousands of elephants for their tusks.
That many people looked at this film upon its release in 2002 as merely a film spin-off of a TV show is a shame. The Wild Thornberrys Movie is simply a great animated feature film, especially when compared to 9 out of 10 American-produced animated films released since 2002. Producers Klasky-Csupo, the two directors, the screenwriter, and the creative staff envisioned a mini-epic that spans two continents and takes the viewers through a multitude of environments.
The thrilling action starts in sprawling grassland of Africa and heads to a boarding school in the English countryside. The sprawl of central London leads to a subway ride, which becomes a plane ride. Then, a train ride back to the plains of Africa leads deep into the jungle and finally into a hidden valley for the showdown. It's a breathtaking action adventure that recalls Raiders of the Lost Ark and the older films that inspired Raiders.
The voice acting is good top to bottom (although Chabert, Kane, and Harris are personal favorites), and the soundtrack is a tasty gumbo of world music and cross-cultural jams. The inventive character design captures both the fun and imagination of cartoons. The animation (by Korean studio Sunwoo Entertainment) moves in a smooth, brisk manner, and the digital color emphasizes earth tones and golden hues that are pitch perfect with this film's story and message. The Wild Thornberrys Movie, a treat for young and the young at heart, is both a pastoral and a call to get in touch with the wild.
9 of 10
A+
NOTES:
2003 Academy Awards: 1 nomination for "Best Music, Original Song" ("Father and Daughter" by Paul Simon)
Friday, March 22, 2013
Labels:
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Friday, March 22, 2013
Review: "End of Watch" a Blast to Watch
TRASH IN MY EYE No. 21 (of 2013) by Leroy Douresseaux
End of Watch (2012)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use
WRITER/DIRECTOR: David Ayer
PRODUCERS: David Ayer, Matt Jackson, John Lesher, and Nigel Sinclair
CINEMATOGRAPHER: Roman Vasyanov (D.o.P.)
EDITOR: Dody Dorn
COMPOSER: David Sardy
CRIME/DRAMA/ACTION
Starring: Jake Gyllenhaal, Michael Peña, Natalie Martinez, Anna Kendrick, David Harbour, Frank Grillo, America Ferrera, Jamie FitzSimons, Cle Sloan, Cody Horn, and Yahira “Flakiss” Garcia, and Maurice Compte
End of Watch is a 2012 thriller and cop movie from writer/director, David Ayer. End of Watch looks like a documentary, but is entirely fictional. The film stars Jake Gyllenhaal and Michael Peña as two young Los Angeles police officers who run into criminal activity that is bigger than they can handle.
Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Peña) are close friends and partners in the Los Angeles Police Department (LAPD). They are assigned to Newton, an area in South Central Los Angeles that is one of the toughest divisions in the LAPD. Both young officers, who are in their late 20s, have active personal lives. Brian meets and falls in love with Janet (Anna Kendrick), and Mike and his wife, Gabby (Natalie Martinez), are expecting a child.
Investigating gang activity in Newton, Brian and Mike uncover something so big that it also involves federal authorities. The actions of the young policemen draw the attention of the Curbside Gang, a vicious Latino street gang, and other criminal forces that are bigger than Brian and Mike realize.
Writer/director David Ayers is known for writing such police and crime films as The Fast and the Furious (2001), Training Day (2001), and Dark Blue (2004). Shot documentary-style, End of Watch is gritty and immediate, while films like The Fast and the Furious and Training Day are stylish, neo-Noir crime movies. In fact, End of Watch is at its best when it’s being gritty and in the middle of some kind of police action. Car chases, foot chases, shoot-outs, domicile entries, traffic stops, and stakeouts: they are riveting and nerve-wracking. Ayer’s collaborators give him some of the best cinematography and film editing of 2012.
When it focuses on the daily grind of police life or the ordinary moments of civilian life, End of Watch grinds to a halt. It’s as if the hum-drum of life is much less interesting to the filmmakers. It’s not that I have to have constant titillation; the movie simply loses its way when it’s not doing the exciting cop stuff.
The cast gives its all, however, even when they’re not chasing perps and popping caps. While Jake Gyllenhaal gives a good performance, of the two lead actors, Michael Peña gives the better performance. He earned a “Best Supporting Male” nomination at the 2013 Film Independent Spirit Awards (which was won by Matthew McConaughey for Magic Mike). Gyllenhaal tries so hard, but he looks like he’s acting. Peña is subtle, effortless, and natural, so that Mike Zavala seems like both a real person and a genuine police officer.
In the movie, a few of the male characters talk about the allure they believe Captain Reese (played by Jamie FitzSimons) has. I have to admit that I also think that Captain Reese/Jamie FitzSimons does have some strange magnetism.
End of Watch is probably the movie that the 1988 film, Colors, wanted to be. As cop movies go, End of Watch is quite good.
7 of 10
B+
Thursday, March 21, 2013
End of Watch (2012)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use
WRITER/DIRECTOR: David Ayer
PRODUCERS: David Ayer, Matt Jackson, John Lesher, and Nigel Sinclair
CINEMATOGRAPHER: Roman Vasyanov (D.o.P.)
EDITOR: Dody Dorn
COMPOSER: David Sardy
CRIME/DRAMA/ACTION
Starring: Jake Gyllenhaal, Michael Peña, Natalie Martinez, Anna Kendrick, David Harbour, Frank Grillo, America Ferrera, Jamie FitzSimons, Cle Sloan, Cody Horn, and Yahira “Flakiss” Garcia, and Maurice Compte
End of Watch is a 2012 thriller and cop movie from writer/director, David Ayer. End of Watch looks like a documentary, but is entirely fictional. The film stars Jake Gyllenhaal and Michael Peña as two young Los Angeles police officers who run into criminal activity that is bigger than they can handle.
Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Peña) are close friends and partners in the Los Angeles Police Department (LAPD). They are assigned to Newton, an area in South Central Los Angeles that is one of the toughest divisions in the LAPD. Both young officers, who are in their late 20s, have active personal lives. Brian meets and falls in love with Janet (Anna Kendrick), and Mike and his wife, Gabby (Natalie Martinez), are expecting a child.
Investigating gang activity in Newton, Brian and Mike uncover something so big that it also involves federal authorities. The actions of the young policemen draw the attention of the Curbside Gang, a vicious Latino street gang, and other criminal forces that are bigger than Brian and Mike realize.
Writer/director David Ayers is known for writing such police and crime films as The Fast and the Furious (2001), Training Day (2001), and Dark Blue (2004). Shot documentary-style, End of Watch is gritty and immediate, while films like The Fast and the Furious and Training Day are stylish, neo-Noir crime movies. In fact, End of Watch is at its best when it’s being gritty and in the middle of some kind of police action. Car chases, foot chases, shoot-outs, domicile entries, traffic stops, and stakeouts: they are riveting and nerve-wracking. Ayer’s collaborators give him some of the best cinematography and film editing of 2012.
When it focuses on the daily grind of police life or the ordinary moments of civilian life, End of Watch grinds to a halt. It’s as if the hum-drum of life is much less interesting to the filmmakers. It’s not that I have to have constant titillation; the movie simply loses its way when it’s not doing the exciting cop stuff.
The cast gives its all, however, even when they’re not chasing perps and popping caps. While Jake Gyllenhaal gives a good performance, of the two lead actors, Michael Peña gives the better performance. He earned a “Best Supporting Male” nomination at the 2013 Film Independent Spirit Awards (which was won by Matthew McConaughey for Magic Mike). Gyllenhaal tries so hard, but he looks like he’s acting. Peña is subtle, effortless, and natural, so that Mike Zavala seems like both a real person and a genuine police officer.
In the movie, a few of the male characters talk about the allure they believe Captain Reese (played by Jamie FitzSimons) has. I have to admit that I also think that Captain Reese/Jamie FitzSimons does have some strange magnetism.
End of Watch is probably the movie that the 1988 film, Colors, wanted to be. As cop movies go, End of Watch is quite good.
7 of 10
B+
Thursday, March 21, 2013
Labels:
2012,
Action,
America Ferrera,
Crime,
Drama,
Jake Gyllenhaal,
Movie review,
Thrillers,
Universal Pictures
Review: "Dark Blue" Dark Indeed
TRASH IN MY EYE No. 22 (of 2003) by Leroy Douresseaux
Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard
CRIME/DRAMA with elements of action and thriller
Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander
The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.
Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.
Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.
Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.
More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.
It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.
Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.
Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.
7 of 10
B+
NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)
Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard
CRIME/DRAMA with elements of action and thriller
Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander
The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.
Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.
Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.
Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.
More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.
It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.
Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.
Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.
7 of 10
B+
NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)
Labels:
2003,
Black Reel Awards nominee,
Brendan Gleeson,
Crime,
Drama,
Kurt Russell,
Movie review,
Scott Speedman,
Ving Rhames
Thursday, March 21, 2013
"Return of the Jedi" Returns for New Film Festival
ENTERTAINMENT WEEKLY ANNOUNCES THE “CAPETOWN FILM FESTIVAL” SPONSORED BY TNT’s FALLING SKIES AT THE EGYPTIAN THEATRE IN HOLLYWOOD, CA
Sci-Fi, Superhero, and Fantasy Screenings with Q&A Panels and Special Guests
Six-Day Festival to Run April 30th – May 5
(NEW YORK, NY) - March 20, 2013 - Entertainment Weekly today announced that they will launch the Entertainment Weekly CapeTown Film Festival (CapeTown ) in conjunction with American Cinematheque and sponsored by TNT’s Falling Skies. The festival will run from Tuesday, April 30th through Sunday, May 5th at the Egyptian Theatre in Hollywood, CA. The EW CapeTown Film Festival will offer sci-fi, super-hero, and fantasy fans the opportunity to see their favorites on the big screen, and hear from the visionaries and biggest stars from the genre who have brought them to life.
The EW CapeTown Film Festival will make its super-heroic debut with a six-day event featuring fan favorite films, including some that will be returning to the big screen for the first time in many years, alongside rare live Q&A panels with their filmmakers – and a surprise or two. Panels will be hosted by Entertainment Weekly senior writers Geoff Boucher, Jeff Jensen and others. A highlight of the festival will be a very special “May the Fourth Be with You” screening of Return of the Jedi on Saturday, May 4th. The screening celebrates the film’s 30th anniversary and will be one of the few times since 1997 that moviegoers can experience it on the big screen. “We’re thrilled to celebrate the 30th anniversary of Return of the Jedi with a screening at the Egyptian - the very same theatre where it premiered in May, 1983,” said Bill Gannon, Managing Editor, EW.com.
Earlier this year, EW.com launched CapeTown (ew.com/capetown), a new digital destination devoted to the intersection of Hollywood and "Comic-Con culture" -- the surging scene that encompasses super-hero, sci-fi, fantasy and horror that stretches across film, television, gaming, comics and novels. "Fantasy, sci-fi and super-heroes have transformed nearly every entertainment medium the past few years. EW's CapeTown Festival celebrates these fantastic genres and gives our audience front-row access to the entertainers creating modern mythology," said Jess Cagle, Editor of Entertainment Weekly.
The complete festival line-up and ticket sales information will be released soon.
About Entertainment Weekly and EW.com
Entertainment Weekly, with a combined print and digital audience of over 17 million loyal, engaged fans, helps readers have fun. It is your all-access pass to Hollywood’s most creative minds and most fascinating stars. The print weekly was introduced by Time Inc. in 1990 and is America’s leading consumer magazine in the entertainment category, with a guaranteed circulation rate base of nearly 1.8 million. It is a winner of four National Magazine Awards (two for General Excellence, one for Design and one for Special Interest) and was named one of min’s 25 Most Notable Magazine Launches of the Last 25 Years. Entertainment Weekly is the first to know about the best (and worst) in entertainment, and with sharp insight and a trusted voice, EW keeps readers plugged into pop culture. This is where buzz begins.
Each day, EW.com publishes a myriad of online-only articles, blog posts, videos, and photo galleries – plus a complete archive of Entertainment Weekly magazine. Over the last year EW.com has received more than a half dozen industry awards including the 2012 Min Editorial and Design Award for our feature writing and a 2012 Folio Gold Eddie award for Best Online News coverage. In July 2012, the site set new records with 130MM pageviews. As of Dec 2011, Entertainment Weekly is also available on the iPad®, NOOK Color™, HP Touchpad, Kindle Fire and select Android™ devices.
On social media, join the Entertainment Weekly community on Facebook, Twitter, Instagram, Pinterest, and Tumblr.
About American Cinematheque
Established in 1981, the American Cinematheque is a 501 C 3 non-profit viewer-supported film exhibition and cultural organization dedicated to the celebration of the Moving Picture in all of its forms. At the Egyptian Theatre, the Cinematheque presents daily film and video programming which ranges from the classics of American and international cinema to new independent films and digital work. Exhibition of rare works, special and rare prints, etc., combined with fascinating post-screening discussions with the filmmakers who created the work, are a Cinematheque tradition that keep audiences coming back for once-in-a-lifetime cinema experiences. The American Cinematheque renovated and reopened (on Dec. 4, 1998) the historic 1922 Hollywood Egyptian Theatre. This includes a state-of-the-art 616-seat theatre housed within Sid Grauman's first grand movie palace on Hollywood Boulevard. The exotic courtyard is fully restored to its 1922 grandeur. The Egyptian was the home of the very first Hollywood movie premiere in 1922. In January 2005 the American Cinematheque expanded its programming to the 1940 Aero Theatre on Montana Avenue in Santa Monica.
www.americancinematheque.com
Sci-Fi, Superhero, and Fantasy Screenings with Q&A Panels and Special Guests
Six-Day Festival to Run April 30th – May 5
(NEW YORK, NY) - March 20, 2013 - Entertainment Weekly today announced that they will launch the Entertainment Weekly CapeTown Film Festival (CapeTown ) in conjunction with American Cinematheque and sponsored by TNT’s Falling Skies. The festival will run from Tuesday, April 30th through Sunday, May 5th at the Egyptian Theatre in Hollywood, CA. The EW CapeTown Film Festival will offer sci-fi, super-hero, and fantasy fans the opportunity to see their favorites on the big screen, and hear from the visionaries and biggest stars from the genre who have brought them to life.
The EW CapeTown Film Festival will make its super-heroic debut with a six-day event featuring fan favorite films, including some that will be returning to the big screen for the first time in many years, alongside rare live Q&A panels with their filmmakers – and a surprise or two. Panels will be hosted by Entertainment Weekly senior writers Geoff Boucher, Jeff Jensen and others. A highlight of the festival will be a very special “May the Fourth Be with You” screening of Return of the Jedi on Saturday, May 4th. The screening celebrates the film’s 30th anniversary and will be one of the few times since 1997 that moviegoers can experience it on the big screen. “We’re thrilled to celebrate the 30th anniversary of Return of the Jedi with a screening at the Egyptian - the very same theatre where it premiered in May, 1983,” said Bill Gannon, Managing Editor, EW.com.
Earlier this year, EW.com launched CapeTown (ew.com/capetown), a new digital destination devoted to the intersection of Hollywood and "Comic-Con culture" -- the surging scene that encompasses super-hero, sci-fi, fantasy and horror that stretches across film, television, gaming, comics and novels. "Fantasy, sci-fi and super-heroes have transformed nearly every entertainment medium the past few years. EW's CapeTown Festival celebrates these fantastic genres and gives our audience front-row access to the entertainers creating modern mythology," said Jess Cagle, Editor of Entertainment Weekly.
The complete festival line-up and ticket sales information will be released soon.
About Entertainment Weekly and EW.com
Entertainment Weekly, with a combined print and digital audience of over 17 million loyal, engaged fans, helps readers have fun. It is your all-access pass to Hollywood’s most creative minds and most fascinating stars. The print weekly was introduced by Time Inc. in 1990 and is America’s leading consumer magazine in the entertainment category, with a guaranteed circulation rate base of nearly 1.8 million. It is a winner of four National Magazine Awards (two for General Excellence, one for Design and one for Special Interest) and was named one of min’s 25 Most Notable Magazine Launches of the Last 25 Years. Entertainment Weekly is the first to know about the best (and worst) in entertainment, and with sharp insight and a trusted voice, EW keeps readers plugged into pop culture. This is where buzz begins.
Each day, EW.com publishes a myriad of online-only articles, blog posts, videos, and photo galleries – plus a complete archive of Entertainment Weekly magazine. Over the last year EW.com has received more than a half dozen industry awards including the 2012 Min Editorial and Design Award for our feature writing and a 2012 Folio Gold Eddie award for Best Online News coverage. In July 2012, the site set new records with 130MM pageviews. As of Dec 2011, Entertainment Weekly is also available on the iPad®, NOOK Color™, HP Touchpad, Kindle Fire and select Android™ devices.
On social media, join the Entertainment Weekly community on Facebook, Twitter, Instagram, Pinterest, and Tumblr.
About American Cinematheque
Established in 1981, the American Cinematheque is a 501 C 3 non-profit viewer-supported film exhibition and cultural organization dedicated to the celebration of the Moving Picture in all of its forms. At the Egyptian Theatre, the Cinematheque presents daily film and video programming which ranges from the classics of American and international cinema to new independent films and digital work. Exhibition of rare works, special and rare prints, etc., combined with fascinating post-screening discussions with the filmmakers who created the work, are a Cinematheque tradition that keep audiences coming back for once-in-a-lifetime cinema experiences. The American Cinematheque renovated and reopened (on Dec. 4, 1998) the historic 1922 Hollywood Egyptian Theatre. This includes a state-of-the-art 616-seat theatre housed within Sid Grauman's first grand movie palace on Hollywood Boulevard. The exotic courtyard is fully restored to its 1922 grandeur. The Egyptian was the home of the very first Hollywood movie premiere in 1922. In January 2005 the American Cinematheque expanded its programming to the 1940 Aero Theatre on Montana Avenue in Santa Monica.
www.americancinematheque.com
Labels:
Cable TV news,
Entertainment Weekly,
event,
film festival news,
movie news,
press release,
Star Wars,
TNT
Selma Blair Guests on "Out There" on IFC
Tune in on Friday (March 22, 2013) for a new episode of “Out There” at 10/9c:
About the show:
Out There chronicles the misadventures of socially awkward Chad, his little brother Jay (Kate Micucci) and his best friend, Chris (Justin Roiland). Living in the small town of Holford, the boys wander its surreal, bleak landscape waiting out their last few years of adolescence. Along the way, viewers meet Chad’s conservative parents, Wayne (John DiMaggio) and Rose (Megan Mullally), as well as Chris’ single mother, Joanie (Pamela Adlon) and her disastrous boyfriend, Terry (Fred Armisen). They also meet the object of Chad’s affection, Sharla (Linda Cardellini).
Awesome clips:
Coming this Friday, Selma Blair makes a guest star appearance on OUT THERE as the eccentric new girl at school. Check it out here: http://www.ifc.com/shows/out-there/blog/2013/03/out-there-paired-up-with-destiny
On last Friday's episode of OUT THERE, when Wayne agrees to let Chad pull the car out of the driveway, obviously Chad is going to do it perfectly on the very first try and then will execute a perfect three-point turn, merge on to the highway and drive off into the sunset as a fully licensed driver. Or so he seems to think, because driving is really easy and doesn’t involve any practice other than watching your mom or dad do it for 15 or 16 years.
Check out the clip here: http://www.ifc.com/out-there/videos/out-there-chad-behind-the-wheel
Ryan Quincy discusses his inspiration for the episode “Frosty King" - see how it correlates with the clip of Chad Behind the Wheel!: http://www.ifc.com/out-there/videos/out-there-ryan-behind-the-wheel
Find out more about the show by perusing the Holford High Yearbook:
http://www.ifc.com/holford-yearbook/
Here's what the critics are saying about Out There:
"Not since Freaks and Geeks has adolescent humiliation been handled so warmly." - Entertainment Weekly
"Ryan Quincy's coming-of-age cartoon series charms" - Los Angeles Times
"...finding the humor in growing pains..." - Animation Magazine
About the show:
Out There chronicles the misadventures of socially awkward Chad, his little brother Jay (Kate Micucci) and his best friend, Chris (Justin Roiland). Living in the small town of Holford, the boys wander its surreal, bleak landscape waiting out their last few years of adolescence. Along the way, viewers meet Chad’s conservative parents, Wayne (John DiMaggio) and Rose (Megan Mullally), as well as Chris’ single mother, Joanie (Pamela Adlon) and her disastrous boyfriend, Terry (Fred Armisen). They also meet the object of Chad’s affection, Sharla (Linda Cardellini).
Awesome clips:
Coming this Friday, Selma Blair makes a guest star appearance on OUT THERE as the eccentric new girl at school. Check it out here: http://www.ifc.com/shows/out-there/blog/2013/03/out-there-paired-up-with-destiny
On last Friday's episode of OUT THERE, when Wayne agrees to let Chad pull the car out of the driveway, obviously Chad is going to do it perfectly on the very first try and then will execute a perfect three-point turn, merge on to the highway and drive off into the sunset as a fully licensed driver. Or so he seems to think, because driving is really easy and doesn’t involve any practice other than watching your mom or dad do it for 15 or 16 years.
Check out the clip here: http://www.ifc.com/out-there/videos/out-there-chad-behind-the-wheel
Ryan Quincy discusses his inspiration for the episode “Frosty King" - see how it correlates with the clip of Chad Behind the Wheel!: http://www.ifc.com/out-there/videos/out-there-ryan-behind-the-wheel
Find out more about the show by perusing the Holford High Yearbook:
http://www.ifc.com/holford-yearbook/
Here's what the critics are saying about Out There:
"Not since Freaks and Geeks has adolescent humiliation been handled so warmly." - Entertainment Weekly
"Ryan Quincy's coming-of-age cartoon series charms" - Los Angeles Times
"...finding the humor in growing pains..." - Animation Magazine
Labels:
animation news,
Cable TV news,
press release
Wednesday, March 20, 2013
Review: "RISE OF THE GUARDIANS" Rises with Jack Frost
TRASH IN MY EYE No. 20 (of 2013) by Leroy Douresseaux
Rise of the Guardians (2012)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – PG for thematic elements and some mildly scary action
DIRECTOR: Peter Ramsey
WRITER: David Lindsay-Abaire (based on the book The Guardians of Childhood by William Joyce)
PRODUCERS: Nancy Bernstein and Christina Steinberg
EDITOR: Joyce Arrastia
COMPOSER: Alexandre Desplat
Golden Globe nominee
ANIMATION/FANTASY/ACTION/COMEDY/FAMILY
Starring: (voice) Chris Pine, Alec Baldwin, Jude Law, Isla Fisher, Hugh Jackman, Dakota Goyo, Khamani Griffin, Kamil McFadden, and Georgie Grieve
Rise of the Guardians is a 2012 3D computer-animated, fantasy film from DreamWorks Animation. The film is based on The Guardians of Childhood books series by William Joyce and is also inspired by Joyce’s animated short film, The Man in the Moon. Joyce and Guillermo del Toro are among the film’s executive producers. Rise of the Guardians is also the first big-budget, computer-animated (CG-animated) film to be directed by an African-American, Peter Ramsey.
Rise of the Guardians is apparently set 300 years after the book series. The movie focuses on a newcomer caught in a battle between immortals that protect the innocence of children and an evil spirit that launches an assault on Earth.
Tooth Fairy or Tooth (Isla Fisher) is the mythical tooth collector and Guardian of Memories. E. Aster Bunnymund or Easter Bunny (Hugh Jackman) is the fabled keeper of Easter eggs and Guardian of Hope. Sandy or Sandman (who does not speak) is the Guardian of Dreams and the oldest of the Guardians. Nicholas St. North or Santa Claus (Alec Baldwin) is the Guardian of Wonder and the leader of the Guardians. The Guardians watch over the children of the world and keep them safe; the Guardians also bring wonder, hope, and dreams.
Pitch Black (Jude Law) is The Boogeyman, the essence of fear known as the Nightmare King. Pitch announces to the Guardians that he is going to destroy children’s faith in them as an act of revenge because children no longer believe in him. The Man in the Moon tells the Guardians to induct a new member, Jack Frost (Chris Pine), in time for their struggle with Pitch Black. Jack declines the offer, as he has spent centuries in isolation because children do not believe in him. However, as Pitch’s threat looms, Jack finds himself dragged into the conflict and forced to find himself and his place.
Rise of the Guardians reminds me of DreamWorks Animation’s 2010 surprise CG-animated hit, How to Train Your Dragon. Dragon had two great characters, the Viking teenager, Hiccup, and his partner, the Night Fury dragon, “Toothless.” When Dragon focuses on Hiccup and Toothless, the film soars, but everything else about the movie, from characters to plot, is inconsistent in quality.
Rise of the Guardians is similar in that aspect. Jack Frost is a truly spectacular animated character. The rest of the film, from characters to action, ranges from good to mediocre to tolerable. Pitch Black, the villain, is merely a jumped-up stage villain full of typical grudges and complaints, and Jude Law’s voice performance does little to lift the character. And what the hell was Alec Baldwin doing as Santa Claus? This film’s concept, plot, and screenplay are an exercise in ups-and-downs and hits and misses. Attempts to give the story heart and meaning sometimes seem contrived, and when the story does have depth, it occasionally comes across as sugary or even fake.
On the other hand, Jack Frost is a treasure. This is his movie and his story – the journey of a hero, and Jack’s internal dilemmas and outward struggles ring with authenticity. He is the star, and the other Guardians are his supporting cast. Chris Pine delivers his finest performance as actor… in a voiceover role, but he brings Jack Frost to life with verve and depth. Pine left me wanting more.
Director Peter Ramsey does a good job of making the action in Rise of the Guardians rise above the defects in plot and narrative. Rise of the Guardians moves like an action movie, but it is imbued with something classic Walt Disney animated films, like Cinderella and Snow White, have. That is the sense of a fantasy movie that is really like a fairy tale, filled with magic and enchantment. CG-animated films don’t really have that sense of the supernatural because, as art created largely by computers, they feel more like technological marvels, but Rise of the Guardians has that old animation magic.
It is both this sense of magic and the magical Jack Frost that help Rise of the Guardians rise high above its shortcomings.
8 of 10
A
NOTES:
2013 Golden Globes, USA: 1 nomination: “Best Animated Film”
2013 Black Reel Awards: 1 nomination: “Best Director” (Peter Ramsey)
2013 Image Awards: 1 nomination: “Outstanding Directing in a Motion Picture-Theatrical or Television” (Peter Ramsey)
Sunday, March 17, 2013
Rise of the Guardians (2012)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – PG for thematic elements and some mildly scary action
DIRECTOR: Peter Ramsey
WRITER: David Lindsay-Abaire (based on the book The Guardians of Childhood by William Joyce)
PRODUCERS: Nancy Bernstein and Christina Steinberg
EDITOR: Joyce Arrastia
COMPOSER: Alexandre Desplat
Golden Globe nominee
ANIMATION/FANTASY/ACTION/COMEDY/FAMILY
Starring: (voice) Chris Pine, Alec Baldwin, Jude Law, Isla Fisher, Hugh Jackman, Dakota Goyo, Khamani Griffin, Kamil McFadden, and Georgie Grieve
Rise of the Guardians is a 2012 3D computer-animated, fantasy film from DreamWorks Animation. The film is based on The Guardians of Childhood books series by William Joyce and is also inspired by Joyce’s animated short film, The Man in the Moon. Joyce and Guillermo del Toro are among the film’s executive producers. Rise of the Guardians is also the first big-budget, computer-animated (CG-animated) film to be directed by an African-American, Peter Ramsey.
Rise of the Guardians is apparently set 300 years after the book series. The movie focuses on a newcomer caught in a battle between immortals that protect the innocence of children and an evil spirit that launches an assault on Earth.
Tooth Fairy or Tooth (Isla Fisher) is the mythical tooth collector and Guardian of Memories. E. Aster Bunnymund or Easter Bunny (Hugh Jackman) is the fabled keeper of Easter eggs and Guardian of Hope. Sandy or Sandman (who does not speak) is the Guardian of Dreams and the oldest of the Guardians. Nicholas St. North or Santa Claus (Alec Baldwin) is the Guardian of Wonder and the leader of the Guardians. The Guardians watch over the children of the world and keep them safe; the Guardians also bring wonder, hope, and dreams.
Pitch Black (Jude Law) is The Boogeyman, the essence of fear known as the Nightmare King. Pitch announces to the Guardians that he is going to destroy children’s faith in them as an act of revenge because children no longer believe in him. The Man in the Moon tells the Guardians to induct a new member, Jack Frost (Chris Pine), in time for their struggle with Pitch Black. Jack declines the offer, as he has spent centuries in isolation because children do not believe in him. However, as Pitch’s threat looms, Jack finds himself dragged into the conflict and forced to find himself and his place.
Rise of the Guardians reminds me of DreamWorks Animation’s 2010 surprise CG-animated hit, How to Train Your Dragon. Dragon had two great characters, the Viking teenager, Hiccup, and his partner, the Night Fury dragon, “Toothless.” When Dragon focuses on Hiccup and Toothless, the film soars, but everything else about the movie, from characters to plot, is inconsistent in quality.
Rise of the Guardians is similar in that aspect. Jack Frost is a truly spectacular animated character. The rest of the film, from characters to action, ranges from good to mediocre to tolerable. Pitch Black, the villain, is merely a jumped-up stage villain full of typical grudges and complaints, and Jude Law’s voice performance does little to lift the character. And what the hell was Alec Baldwin doing as Santa Claus? This film’s concept, plot, and screenplay are an exercise in ups-and-downs and hits and misses. Attempts to give the story heart and meaning sometimes seem contrived, and when the story does have depth, it occasionally comes across as sugary or even fake.
On the other hand, Jack Frost is a treasure. This is his movie and his story – the journey of a hero, and Jack’s internal dilemmas and outward struggles ring with authenticity. He is the star, and the other Guardians are his supporting cast. Chris Pine delivers his finest performance as actor… in a voiceover role, but he brings Jack Frost to life with verve and depth. Pine left me wanting more.
Director Peter Ramsey does a good job of making the action in Rise of the Guardians rise above the defects in plot and narrative. Rise of the Guardians moves like an action movie, but it is imbued with something classic Walt Disney animated films, like Cinderella and Snow White, have. That is the sense of a fantasy movie that is really like a fairy tale, filled with magic and enchantment. CG-animated films don’t really have that sense of the supernatural because, as art created largely by computers, they feel more like technological marvels, but Rise of the Guardians has that old animation magic.
It is both this sense of magic and the magical Jack Frost that help Rise of the Guardians rise high above its shortcomings.
8 of 10
A
NOTES:
2013 Golden Globes, USA: 1 nomination: “Best Animated Film”
2013 Black Reel Awards: 1 nomination: “Best Director” (Peter Ramsey)
2013 Image Awards: 1 nomination: “Outstanding Directing in a Motion Picture-Theatrical or Television” (Peter Ramsey)
Sunday, March 17, 2013
-------------------------
Labels:
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Jude Law,
Movie review,
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Tuesday, March 19, 2013
Warner Bros. Starts Production on "Godzilla"
Warner Bros. Pictures and Legendary Pictures Announce Cast and Start of Production for “Godzilla”
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures and Legendary Pictures announced today the final principal cast for the upcoming tent pole “Godzilla.” Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, and Juliette Binoche are starring in the film, with David Strathairn and Bryan Cranston.
The companies also announced that principal photography began today on location in Vancouver.
Gareth Edwards is directing the film from a screenplay by Max Borenstein, Frank Darabont and Dave Callaham. Legendary’s Thomas Tull and Jon Jashni are producing with Mary Parent and Brian Rogers. Alex Garcia and Patricia Whitcher are serving as executive producers alongside Yoshimitsu Banno and Kenji Okuhira.
A presentation of Warner Bros. Pictures and Legendary Pictures, “Godzilla” will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, except in Japan, where it will be distributed by Toho Co., Ltd. Legendary Pictures is a division of Legendary Entertainment.
Slated to open on May 16, 2014, the film is expected to be presented in 3D.
BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures and Legendary Pictures announced today the final principal cast for the upcoming tent pole “Godzilla.” Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, and Juliette Binoche are starring in the film, with David Strathairn and Bryan Cranston.
The companies also announced that principal photography began today on location in Vancouver.
Gareth Edwards is directing the film from a screenplay by Max Borenstein, Frank Darabont and Dave Callaham. Legendary’s Thomas Tull and Jon Jashni are producing with Mary Parent and Brian Rogers. Alex Garcia and Patricia Whitcher are serving as executive producers alongside Yoshimitsu Banno and Kenji Okuhira.
A presentation of Warner Bros. Pictures and Legendary Pictures, “Godzilla” will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, except in Japan, where it will be distributed by Toho Co., Ltd. Legendary Pictures is a division of Legendary Entertainment.
Slated to open on May 16, 2014, the film is expected to be presented in 3D.
Labels:
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David Strathairn,
Frank Darabont,
Juliette Binoche,
Ken Watanabe,
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Restored "Lawrence of Arabia" Returns to Cinemark Theatres
Academy Award Winning ‘LAWRENCE OF ARABIA’ Returns to Screens for Cinemark’s Classic Films Series
Fully Restored, Hollywood Classic to Play at Select Cinemark XD Auditoriums and Other Locations on Wednesday, March 20th
PLANO, Texas--(BUSINESS WIRE)--Cinemark Holdings, Inc. (NYSE: CNK), one of the world’s largest motion picture exhibitors, is pleased to announce that the 1962 Academy Award Winner for Best Motion Picture, LAWRENCE OF ARABIA, will play at Cinemark’s Classics Series in over 120 Cinemark theatres across the country. Ranked # 7 on the 2007 American Film Institute’s 100 Greatest Movies of All Time, the film is scheduled to play on Wednesday, March 20, 2013, with two separate show times, 2pm and 7pm.
“Lawrence of Arabia is the quintessential big screen epic,” states James Meredith, Head of Marketing & Communications for Cinemark. “It’s adventurous, award-winning, and features memorable directing and acting performances. It will look spectacular in our Cinemark XD auditoriums at participating locations!”
Consistently rated as one of the finest films from director David Lean, this classic featured an indelible performance from Peter O’Toole as the lead character, T. E. Lawrence, as well as those from Sir Alec Guinness, Omar Sharif, and Anthony Quinn. In addition to winning the Best Picture Oscar, LAWRENCE OF ARABIA was also awarded Best Director honors for Lean, Best Original Score for Maurice Jarre, Best Cinematography, Best Editing, Best Sound and Best Art and Set Decoration. It was nominated in three other categories including Best Actor for O’Toole and Best Supporting Actor for Sharif.
Cinemark takes pride in creating the best entertainment experience in the industry. In order to make movie-going as easy and enjoyable as possible, Cinemark focuses on offering more choices to their customers. For example, “Print at Home” ticketing available at www.cinemark.com makes it easy for patrons to purchase tickets in advance from the comfort of their home or office. Customers can bypass lines at the box office and go directly to a kiosk in the theatre lobby. Also, guests can download and purchase tickets through Cinemark’s mobile applications that are available for iPhone and Android phones. Finally, to stay connected, customers can sign up online to receive free, weekly showtime e-mailers that contain online coupons for discounts at the concession stand and other weekly special offers.
A full list of participating Cinemark Classic Series locations, advance ticket purchases and show time information can be found at www.cinemark.com.
About Cinemark Holdings, Inc.
Cinemark is a leading domestic and international motion picture exhibitor, operating 465 theatres with 5,240 screens in 39 U.S. states, Brazil, Mexico, Argentina and 10 other Latin American countries as of December 31, 2012. For more information go to www.cinemark.com.
Fully Restored, Hollywood Classic to Play at Select Cinemark XD Auditoriums and Other Locations on Wednesday, March 20th
PLANO, Texas--(BUSINESS WIRE)--Cinemark Holdings, Inc. (NYSE: CNK), one of the world’s largest motion picture exhibitors, is pleased to announce that the 1962 Academy Award Winner for Best Motion Picture, LAWRENCE OF ARABIA, will play at Cinemark’s Classics Series in over 120 Cinemark theatres across the country. Ranked # 7 on the 2007 American Film Institute’s 100 Greatest Movies of All Time, the film is scheduled to play on Wednesday, March 20, 2013, with two separate show times, 2pm and 7pm.
“Lawrence of Arabia is the quintessential big screen epic,” states James Meredith, Head of Marketing & Communications for Cinemark. “It’s adventurous, award-winning, and features memorable directing and acting performances. It will look spectacular in our Cinemark XD auditoriums at participating locations!”
Consistently rated as one of the finest films from director David Lean, this classic featured an indelible performance from Peter O’Toole as the lead character, T. E. Lawrence, as well as those from Sir Alec Guinness, Omar Sharif, and Anthony Quinn. In addition to winning the Best Picture Oscar, LAWRENCE OF ARABIA was also awarded Best Director honors for Lean, Best Original Score for Maurice Jarre, Best Cinematography, Best Editing, Best Sound and Best Art and Set Decoration. It was nominated in three other categories including Best Actor for O’Toole and Best Supporting Actor for Sharif.
Cinemark takes pride in creating the best entertainment experience in the industry. In order to make movie-going as easy and enjoyable as possible, Cinemark focuses on offering more choices to their customers. For example, “Print at Home” ticketing available at www.cinemark.com makes it easy for patrons to purchase tickets in advance from the comfort of their home or office. Customers can bypass lines at the box office and go directly to a kiosk in the theatre lobby. Also, guests can download and purchase tickets through Cinemark’s mobile applications that are available for iPhone and Android phones. Finally, to stay connected, customers can sign up online to receive free, weekly showtime e-mailers that contain online coupons for discounts at the concession stand and other weekly special offers.
A full list of participating Cinemark Classic Series locations, advance ticket purchases and show time information can be found at www.cinemark.com.
About Cinemark Holdings, Inc.
Cinemark is a leading domestic and international motion picture exhibitor, operating 465 theatres with 5,240 screens in 39 U.S. states, Brazil, Mexico, Argentina and 10 other Latin American countries as of December 31, 2012. For more information go to www.cinemark.com.
Labels:
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Sunday, March 17, 2013
Review: Halle Berry Needs the Call in "Perfect Stranger"
TRASH IN MY EYE No. 120 (of 2007) by Leroy Douresseaux
Perfect Stranger (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for sexual content, nudity, some disturbing violent images and language
DIRECTOR: James Foley
WRITERS: Todd Komarnicki; from a story by Jon Bokenkamp
PRODUCER: Elaine Goldsmith-Thomas
CINEMATROGRAPHER: Anastas N. Michos (D.o.P.)
EDITOR: Christopher Tellefsen
COMPOSER: Antonio Pinto
DRAMA/MYSTERY/THRILLER
Starring: Halle Berry, Bruce Willis, Giovanni Ribisi, Richard Portnow, Gary Dourdan, Florencia Lozano, Daniella Van Graas, and Nicki Aycox
The subject of this movie review is Perfect Stranger, a 2007 psychological thriller from director James Foley. The film star Halle Berry and Bruce Willis, respectively, as an undercover journalist and a shady businessman in a cat-and-mouse game.
Playing the role of the abused woman of African-American descent has served Halle Berry quite well. In 2002, Berry won an Oscar for playing just such a character in the film, Monster’s Ball. She portrays another put upon woman or sufferin’ sistah type in the film, Perfect Stranger, with Bruce Willis playing the apparent central bully. But this time, Berry’s loyal audience is the victim of a truly bad movie.
After her friend, Grace Clayton (Nicki Aycox) is found murdered, investigative reporter Rowena “Ro” Price (Halle Berry) is determined to find the murderer. She believes that Grace’s death is connected to a powerful advertising executive, Harrison Hill (Bruce Willis), who seduces women in the online dating world of chat rooms, although he is married. Rowena infiltrates Hill’s advertising agency, H2A, as a temp worker named Katherine Pogue, and she also secretly teases him online under the moniker, Veronica. With the help of newspaper colleague and friend, Miles Haley (Giovanni Ribisi), Rowena pries into all facets of Hill’s life. The closer she gets to the truth, the more Ro learns how far people will go to protect it, and she finds herself struggling to protect her own secrets.
Perfect Stranger is vile, vulgar, cheap, and tawdry in the way the director and writers portray sexual relationships and in the coarse manner in which characters speak to each other. What makes this film really bad, however, isn’t the sex, nudity, crude language, explicit violence or even the woefully bad acting. It’s that Perfect Stranger is a poorly conceived mystery thriller. Perhaps, the writers knew how the story would end, and they were clear about who the victims would be and when they would be victimized. Beyond that, this narrative is full of holes.
Even viewers who normally find both obvious and none-too-subtle clues flying over their heads (that includes me), will find themselves scratching their heads at how easily and early this story disintegrates. The central murder doesn’t make sense when one considers that the killer is supposed to be so clever. The subsequent police investigation would certainly break up this film’s story within the first half hour. Sure, we’re supposed to suspend disbelief in the movie theatre, but what about verisimilitude? Since Perfect Stranger is set in a world like ours, it should also work logically in the real world.
Without Halle Berry and Bruce Willis, who both gave poor, poor performances, Perfect Strangers would have been a direct-to-DVD film… that not many people would rent. Only my love for Berry prohibits me from giving this an “F.”
1 of 10
D-
Friday, August 24, 2007
Perfect Stranger (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for sexual content, nudity, some disturbing violent images and language
DIRECTOR: James Foley
WRITERS: Todd Komarnicki; from a story by Jon Bokenkamp
PRODUCER: Elaine Goldsmith-Thomas
CINEMATROGRAPHER: Anastas N. Michos (D.o.P.)
EDITOR: Christopher Tellefsen
COMPOSER: Antonio Pinto
DRAMA/MYSTERY/THRILLER
Starring: Halle Berry, Bruce Willis, Giovanni Ribisi, Richard Portnow, Gary Dourdan, Florencia Lozano, Daniella Van Graas, and Nicki Aycox
The subject of this movie review is Perfect Stranger, a 2007 psychological thriller from director James Foley. The film star Halle Berry and Bruce Willis, respectively, as an undercover journalist and a shady businessman in a cat-and-mouse game.
Playing the role of the abused woman of African-American descent has served Halle Berry quite well. In 2002, Berry won an Oscar for playing just such a character in the film, Monster’s Ball. She portrays another put upon woman or sufferin’ sistah type in the film, Perfect Stranger, with Bruce Willis playing the apparent central bully. But this time, Berry’s loyal audience is the victim of a truly bad movie.
After her friend, Grace Clayton (Nicki Aycox) is found murdered, investigative reporter Rowena “Ro” Price (Halle Berry) is determined to find the murderer. She believes that Grace’s death is connected to a powerful advertising executive, Harrison Hill (Bruce Willis), who seduces women in the online dating world of chat rooms, although he is married. Rowena infiltrates Hill’s advertising agency, H2A, as a temp worker named Katherine Pogue, and she also secretly teases him online under the moniker, Veronica. With the help of newspaper colleague and friend, Miles Haley (Giovanni Ribisi), Rowena pries into all facets of Hill’s life. The closer she gets to the truth, the more Ro learns how far people will go to protect it, and she finds herself struggling to protect her own secrets.
Perfect Stranger is vile, vulgar, cheap, and tawdry in the way the director and writers portray sexual relationships and in the coarse manner in which characters speak to each other. What makes this film really bad, however, isn’t the sex, nudity, crude language, explicit violence or even the woefully bad acting. It’s that Perfect Stranger is a poorly conceived mystery thriller. Perhaps, the writers knew how the story would end, and they were clear about who the victims would be and when they would be victimized. Beyond that, this narrative is full of holes.
Even viewers who normally find both obvious and none-too-subtle clues flying over their heads (that includes me), will find themselves scratching their heads at how easily and early this story disintegrates. The central murder doesn’t make sense when one considers that the killer is supposed to be so clever. The subsequent police investigation would certainly break up this film’s story within the first half hour. Sure, we’re supposed to suspend disbelief in the movie theatre, but what about verisimilitude? Since Perfect Stranger is set in a world like ours, it should also work logically in the real world.
Without Halle Berry and Bruce Willis, who both gave poor, poor performances, Perfect Strangers would have been a direct-to-DVD film… that not many people would rent. Only my love for Berry prohibits me from giving this an “F.”
1 of 10
D-
Friday, August 24, 2007
Labels:
2007,
Bruce Willis,
Columbia Pictures,
Drama,
Halle Berry,
Movie review,
Mystery,
Thrillers
Friday, March 15, 2013
JAY Z Hooks Up with Baz Luhrmann for "The Great Gatsby"
Shawn “JAY Z” Carter Teams up with Baz Luhrmann on “The Great Gatsby”
Shawn “JAY Z” Carter to serve as Executive Producer and perform on “The Great Gatsby” soundtrack which will feature a varied collection of the world’s most talented and compelling musical artists
BURBANK, Calif.--(BUSINESS WIRE)--Grammy Award-winning musical artist Shawn “JAY Z” Carter has collaborated with writer/producer/director Baz Luhrmann on “The Great Gatsby”—in the capacity of Executive Producer—to bring the modern “Jazz Age” energy of F. Scott Fitzgerald’s original text to the big screen, procuring, performing, producing and arranging for a soundtrack featuring some of the world’s top musical artists.
JAY Z’s contributions, woven amongst a score by long-time Luhrmann collaborator, composer Craig Armstrong, drive Gatsby’s champagne-infused dance floors, rumble in New York’s illegal speakeasies, and foreshadow the tragedy behind Gatsby’s “extraordinary gift for hope.” To articulate the film’s “1920s-Meets-Now” sound, JAY Z also comes to “The Great Gatsby” soundtrack as a performer and contributor of original music.
Luhrmann and JAY Z were introduced by Leonardo DiCaprio (Jay Gatsby), and this led to a two-year collaborative effort. During this time, JAY Z worked with Luhrmann and his team to capture, translate and contrast the feelings of Fitzgerald’s decadent era with that of our own, using hip-hop and jazz, music contemporary and period, to bring two distinct American moments to simultaneous life. They sculpted the film’s musical landscape alongside Armstrong, who worked with the director on “Moulin Rouge!” and “Romeo + Juliet.” The film’s music supervisor is Anton Monsted.
Luhrmann calls the collaboration with JAY Z “a credible and natural fit. Fitzgerald was a pioneer, famed and controversial for using the then-new and explosive sound called jazz in his novels and short stories—not just as decoration, but to actively tell story using the immediacy of pop culture. He coined the phrase ‘the Jazz Age.’ So, the question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop-cultural immediacy toward the world that Fitzgerald did for his audience? And in our age, the energy of jazz is caught in the energy of hip-hop. Not only is JAY Z a great artist, full stop, but I had heard that he was a great collaborator. Leonardo and I were lucky enough to be present in a recording session over two years ago as JAY Z was recording ‘No Church in the Wild,’ and the collaboration grew from there.”
JAY Z said, “As soon as I spoke with Baz and Leonardo, I knew this was the right project. The Great Gatsby is that classic American story of one’s introduction to extravagance, decadence and illusion. It’s ripe for experimentation and ready to be interpreted with a modern twist. The imagination Baz brought to ‘Moulin Rouge’ made it a masterpiece, and ‘Romeo + Juliet’s’ score wasn’t just in the background; the music became a character. This film’s vision and direction has all the makings of an epic experience.”
“The Great Gatsby” soundtrack will be released by Interscope Records.
From the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel The Great Gatsby. The filmmaker created his own distinctive visual interpretation of the classic story, bringing the period to life in a way that has never been seen before, in a film starring Leonardo DiCaprio in the title role.
“The Great Gatsby” follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz, bootleg kings, and sky-rocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blue-blooded husband, Tom Buchanan. It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without of the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles.
Academy Award® nominee DiCaprio (“Django Unchained,” “Aviator”) plays Jay Gatsby, with Tobey Maguire starring as Nick Carraway; Oscar® nominee Carey Mulligan (“An Education”) and Joel Edgerton as Daisy and Tom Buchanan; Isla Fisher and Jason Clarke as Myrtle and George Wilson; and newcomer Elizabeth Debicki as Jordan Baker. Indian film legend Amitabh Bachchan will play the role of Meyer Wolfsheim.
Oscar® nominee Luhrmann (“Moulin Rouge!”) directs the film in 3D from a screenplay co-written with frequent collaborator Craig Pearce, based on Fitzgerald’s novel. Luhrmann produces, along with Catherine Martin, Academy Award® winner Douglas Wick (“Gladiator”), Lucy Fisher and Catherine Knapman. The executive producers are Academy Award® winner Barrie M. Osborne (“Lord of the Rings – Return of the King”), JAY Z, and Bruce Berman.
Two-time Academy Award®-winning production and costume designer Catherine Martin (“Moulin Rouge!”) designs as well as produces. The editors are Matt Villa, Jason Ballantine and Jonathan Redmond, and the director of photography is Simon Duggan. The music is by Craig Armstrong.
Warner Bros. Pictures presents, in association with Village Roadshow Pictures, in association with A&E Television, a Bazmark/Red Wagon Entertainment Production, a Film by Baz Luhrmann, “The Great Gatsby.” Opening May 10, 2013, the film will be distributed in 3D and 2D by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
www.thegreatgatsbymovie.com
Shawn “JAY Z” Carter to serve as Executive Producer and perform on “The Great Gatsby” soundtrack which will feature a varied collection of the world’s most talented and compelling musical artists
BURBANK, Calif.--(BUSINESS WIRE)--Grammy Award-winning musical artist Shawn “JAY Z” Carter has collaborated with writer/producer/director Baz Luhrmann on “The Great Gatsby”—in the capacity of Executive Producer—to bring the modern “Jazz Age” energy of F. Scott Fitzgerald’s original text to the big screen, procuring, performing, producing and arranging for a soundtrack featuring some of the world’s top musical artists.
JAY Z’s contributions, woven amongst a score by long-time Luhrmann collaborator, composer Craig Armstrong, drive Gatsby’s champagne-infused dance floors, rumble in New York’s illegal speakeasies, and foreshadow the tragedy behind Gatsby’s “extraordinary gift for hope.” To articulate the film’s “1920s-Meets-Now” sound, JAY Z also comes to “The Great Gatsby” soundtrack as a performer and contributor of original music.
Luhrmann and JAY Z were introduced by Leonardo DiCaprio (Jay Gatsby), and this led to a two-year collaborative effort. During this time, JAY Z worked with Luhrmann and his team to capture, translate and contrast the feelings of Fitzgerald’s decadent era with that of our own, using hip-hop and jazz, music contemporary and period, to bring two distinct American moments to simultaneous life. They sculpted the film’s musical landscape alongside Armstrong, who worked with the director on “Moulin Rouge!” and “Romeo + Juliet.” The film’s music supervisor is Anton Monsted.
Luhrmann calls the collaboration with JAY Z “a credible and natural fit. Fitzgerald was a pioneer, famed and controversial for using the then-new and explosive sound called jazz in his novels and short stories—not just as decoration, but to actively tell story using the immediacy of pop culture. He coined the phrase ‘the Jazz Age.’ So, the question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop-cultural immediacy toward the world that Fitzgerald did for his audience? And in our age, the energy of jazz is caught in the energy of hip-hop. Not only is JAY Z a great artist, full stop, but I had heard that he was a great collaborator. Leonardo and I were lucky enough to be present in a recording session over two years ago as JAY Z was recording ‘No Church in the Wild,’ and the collaboration grew from there.”
JAY Z said, “As soon as I spoke with Baz and Leonardo, I knew this was the right project. The Great Gatsby is that classic American story of one’s introduction to extravagance, decadence and illusion. It’s ripe for experimentation and ready to be interpreted with a modern twist. The imagination Baz brought to ‘Moulin Rouge’ made it a masterpiece, and ‘Romeo + Juliet’s’ score wasn’t just in the background; the music became a character. This film’s vision and direction has all the makings of an epic experience.”
“The Great Gatsby” soundtrack will be released by Interscope Records.
From the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel The Great Gatsby. The filmmaker created his own distinctive visual interpretation of the classic story, bringing the period to life in a way that has never been seen before, in a film starring Leonardo DiCaprio in the title role.
“The Great Gatsby” follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz, bootleg kings, and sky-rocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blue-blooded husband, Tom Buchanan. It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without of the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles.
Academy Award® nominee DiCaprio (“Django Unchained,” “Aviator”) plays Jay Gatsby, with Tobey Maguire starring as Nick Carraway; Oscar® nominee Carey Mulligan (“An Education”) and Joel Edgerton as Daisy and Tom Buchanan; Isla Fisher and Jason Clarke as Myrtle and George Wilson; and newcomer Elizabeth Debicki as Jordan Baker. Indian film legend Amitabh Bachchan will play the role of Meyer Wolfsheim.
Oscar® nominee Luhrmann (“Moulin Rouge!”) directs the film in 3D from a screenplay co-written with frequent collaborator Craig Pearce, based on Fitzgerald’s novel. Luhrmann produces, along with Catherine Martin, Academy Award® winner Douglas Wick (“Gladiator”), Lucy Fisher and Catherine Knapman. The executive producers are Academy Award® winner Barrie M. Osborne (“Lord of the Rings – Return of the King”), JAY Z, and Bruce Berman.
Two-time Academy Award®-winning production and costume designer Catherine Martin (“Moulin Rouge!”) designs as well as produces. The editors are Matt Villa, Jason Ballantine and Jonathan Redmond, and the director of photography is Simon Duggan. The music is by Craig Armstrong.
Warner Bros. Pictures presents, in association with Village Roadshow Pictures, in association with A&E Television, a Bazmark/Red Wagon Entertainment Production, a Film by Baz Luhrmann, “The Great Gatsby.” Opening May 10, 2013, the film will be distributed in 3D and 2D by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
www.thegreatgatsbymovie.com
Labels:
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Business Wire,
Leonardo DiCaprio,
movie news,
music news,
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Thursday, March 14, 2013
Review: "Bruce Almighty" Not So Mighty
TRASH IN MY EYE No. 20 (of 2004) by Leroy Douresseaux
Bruce Almighty (2003)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for language, sexual content and some crude humor
DIRECTOR: Tom Shadyac
WRITERS: Steve Koren & Mark O’Keefe and Steve Oedekerk; from a story by Steve Koren and Mark O’Keefe
PRODUCERS: Michael Bostick, James D. Brubaker, Jim Carrey, Steve Koren, Mark O'Keefe, and Tom Shadyac
CINEMATOGRAPHER: Dean Semler (D.o.P.)
EDITOR: Scott Hill
COMPOSER: John Debney
COMEDY/FANTASY/ROMANCE
Starring: Jim Carrey, Morgan Freeman, Jennifer Aniston, Philip Baker Hall, Catherine Baker, Lisa Ann Walter, Steven Carell, Nora Dunn, Eddie Jemison, Paul Satterfield, Mark Kiely, Sally Kirkland, and Tony Bennett
The subject of this movie review is Bruce Almighty, a 2003 comedy and fantasy film from director Tom Shadyac and starring Jim Carrey. The film was a worldwide box office hit and yielded a spin-off film, Evan Almighty, in 2007.
Bruce Almighty isn’t Jim Carrey’s best film, although it was one of his biggest ever at the box office. I wanted to see it for a long time, but never got around to it, and after having finally seen it, I now realize that it would have been perfectly fine, if in my life as a moviegoer, I had never seen it. It’s not bad; it’s just not good Jim Carrey.
Bruce Almighty focuses on Bruce Nolan (Jim Carrey) an unhappy television reporter who complains about how unfair God is to him. When he doesn’t get the promotion after which he lusted and gets himself fired as a result, he condemns God as a do-nothing. God (Morgan Freeman) decides to make an appearance and see if Bruce can do better a job ruling existence. He gives Bruce his almighty powers just to teach him how difficult the job of being God can be.
First of all the concept is a piece of shit. Granted that the job of watching the universe is, to say the absolute least, difficult, can’t God do the job? He is, after all, God…
Secondly, the script is very smart, for at least half the film. Bruce acts just as you’d think he would – selfishly and carelessly doing whatever it takes to make things easy for him. It turns out he was always a self-obsessed bastard. Even after he gets his way via his newly gained almighty powers, he doesn’t think to make things better not only for himself, but also for his girlfriend, Grace Connelly (Jennifer Anniston). When Bruce does finally at least pay attention to the (presumed) basic duty of God, answering prayers, he takes the easy route and creates a disaster. All this stuff is smart and probably pretty accurate when it comes to describing how someone would handle the situation.
After that, Bruce Almighty becomes a feel good fest of fixing things and doing the right thing. That makes for a pleasant movie, and the story resolves in the way it probably should: life lessons learned, good will towards men, respecting God (but, according to the film, respecting God in a bland and non-evangelical way). However, that’s the problem. Bruce Almighty plays it too safe; it would have really been a funnier film if it had actually went against the grain – maybe be radical.
And as silly and crazy as Jim Carrey has been, he’s rarely done anything dangerous in his career. As a stage comedian, he was a gagman, the Prince of Ass Jokes, really. He does great impersonations and he’s a human sound effects machine, but we’re not talking Lenny Bruce or even Carrey’s idol, Andy Kaufman. His film career has pretty much been the same act, but he’s been so damn good at it. The Ace Ventura films and Dumb and Dumber are priceless.
Since the mid to late 90’s, Jim has been trying to prove to everyone that he’s not a comedian turned actor or just a comic actor, but an actor – one capable doing serious dramatic roles. I think several years of trying to prove that he’s a great actor has dulled the talent that justifies his popularity and humongous paychecks – his talent as the Prince of Ass Jokes, the Duke of Juvenile Humor, and Lord of Rubbery Faces.
You can see it in Bruce Almighty. His silliness, childishness, and zaniness lack the zip they once had. He’s does some really hilarious clowning around in this film, but a lot of it is soft and too much of it strained.
So see Bruce Almighty, if you like Jim Carrey. Sadly, it’s the closest we’ll get to the early to mid-90’s pet detective.
5 of 10
C+
NOTES:
2004 Black Reel Awards: 1 nomination: “Best Supporting Actor” (Morgan Freeman)
2004 Image Awards: 1 win: “Outstanding Supporting Actor in a Motion Picture” (Morgan Freeman)
Bruce Almighty (2003)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for language, sexual content and some crude humor
DIRECTOR: Tom Shadyac
WRITERS: Steve Koren & Mark O’Keefe and Steve Oedekerk; from a story by Steve Koren and Mark O’Keefe
PRODUCERS: Michael Bostick, James D. Brubaker, Jim Carrey, Steve Koren, Mark O'Keefe, and Tom Shadyac
CINEMATOGRAPHER: Dean Semler (D.o.P.)
EDITOR: Scott Hill
COMPOSER: John Debney
COMEDY/FANTASY/ROMANCE
Starring: Jim Carrey, Morgan Freeman, Jennifer Aniston, Philip Baker Hall, Catherine Baker, Lisa Ann Walter, Steven Carell, Nora Dunn, Eddie Jemison, Paul Satterfield, Mark Kiely, Sally Kirkland, and Tony Bennett
The subject of this movie review is Bruce Almighty, a 2003 comedy and fantasy film from director Tom Shadyac and starring Jim Carrey. The film was a worldwide box office hit and yielded a spin-off film, Evan Almighty, in 2007.
Bruce Almighty isn’t Jim Carrey’s best film, although it was one of his biggest ever at the box office. I wanted to see it for a long time, but never got around to it, and after having finally seen it, I now realize that it would have been perfectly fine, if in my life as a moviegoer, I had never seen it. It’s not bad; it’s just not good Jim Carrey.
Bruce Almighty focuses on Bruce Nolan (Jim Carrey) an unhappy television reporter who complains about how unfair God is to him. When he doesn’t get the promotion after which he lusted and gets himself fired as a result, he condemns God as a do-nothing. God (Morgan Freeman) decides to make an appearance and see if Bruce can do better a job ruling existence. He gives Bruce his almighty powers just to teach him how difficult the job of being God can be.
First of all the concept is a piece of shit. Granted that the job of watching the universe is, to say the absolute least, difficult, can’t God do the job? He is, after all, God…
Secondly, the script is very smart, for at least half the film. Bruce acts just as you’d think he would – selfishly and carelessly doing whatever it takes to make things easy for him. It turns out he was always a self-obsessed bastard. Even after he gets his way via his newly gained almighty powers, he doesn’t think to make things better not only for himself, but also for his girlfriend, Grace Connelly (Jennifer Anniston). When Bruce does finally at least pay attention to the (presumed) basic duty of God, answering prayers, he takes the easy route and creates a disaster. All this stuff is smart and probably pretty accurate when it comes to describing how someone would handle the situation.
After that, Bruce Almighty becomes a feel good fest of fixing things and doing the right thing. That makes for a pleasant movie, and the story resolves in the way it probably should: life lessons learned, good will towards men, respecting God (but, according to the film, respecting God in a bland and non-evangelical way). However, that’s the problem. Bruce Almighty plays it too safe; it would have really been a funnier film if it had actually went against the grain – maybe be radical.
And as silly and crazy as Jim Carrey has been, he’s rarely done anything dangerous in his career. As a stage comedian, he was a gagman, the Prince of Ass Jokes, really. He does great impersonations and he’s a human sound effects machine, but we’re not talking Lenny Bruce or even Carrey’s idol, Andy Kaufman. His film career has pretty much been the same act, but he’s been so damn good at it. The Ace Ventura films and Dumb and Dumber are priceless.
Since the mid to late 90’s, Jim has been trying to prove to everyone that he’s not a comedian turned actor or just a comic actor, but an actor – one capable doing serious dramatic roles. I think several years of trying to prove that he’s a great actor has dulled the talent that justifies his popularity and humongous paychecks – his talent as the Prince of Ass Jokes, the Duke of Juvenile Humor, and Lord of Rubbery Faces.
You can see it in Bruce Almighty. His silliness, childishness, and zaniness lack the zip they once had. He’s does some really hilarious clowning around in this film, but a lot of it is soft and too much of it strained.
So see Bruce Almighty, if you like Jim Carrey. Sadly, it’s the closest we’ll get to the early to mid-90’s pet detective.
5 of 10
C+
NOTES:
2004 Black Reel Awards: 1 nomination: “Best Supporting Actor” (Morgan Freeman)
2004 Image Awards: 1 win: “Outstanding Supporting Actor in a Motion Picture” (Morgan Freeman)
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Kansas City Film Critics Obeyed "The Master" in 2012
by Leroy Douresseaux
I complete today's 2012 film awards season catch-up with the Kansas City Film Critics Circle. The group named The Master as the "Best Film of 2012," and they matched Ang Lee's best director Oscar for Life of Pi by also honoring him.
Founded in 1967, The Kansas City Film Critics Circle (KCFCC) says that it is the "second oldest professional film critics" association in the United States" (behind the New York Film Critics Circle). The organization is composed of media film critics in the Kansas City metropolitan area. The KCFCC’s awards are named for the group’s founder, James Loutzenhiser, who died in November 2001.
2012 Loutzenhiser Awards:
(Announced December 16, 2012)
Best Film: The Master
Robert Altman Award for Best Director:
Ang Lee - Life of Pi
Best Actress:
Jennifer Lawrence - Silver Linings Playbook
Best Actor:
Daniel Day-Lewis - Lincoln
Best Supporting Actress:
Anne Hathaway - Les Miserables
Best Supporting Actor:
Philip Seymour Hoffman - The Master
Best Adapted Screenplay:
Chris Terrio - Argo
Best Original Screenplay:
Paul Thomas Anderson - The Master
Best Foreign Language Film:
Amour - (Austria/France)
Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: The Cabin in the Woods
Best Animated Film: Frankenweenie
Best Documentary: The Imposter
I complete today's 2012 film awards season catch-up with the Kansas City Film Critics Circle. The group named The Master as the "Best Film of 2012," and they matched Ang Lee's best director Oscar for Life of Pi by also honoring him.
Founded in 1967, The Kansas City Film Critics Circle (KCFCC) says that it is the "second oldest professional film critics" association in the United States" (behind the New York Film Critics Circle). The organization is composed of media film critics in the Kansas City metropolitan area. The KCFCC’s awards are named for the group’s founder, James Loutzenhiser, who died in November 2001.
2012 Loutzenhiser Awards:
(Announced December 16, 2012)
Best Film: The Master
Robert Altman Award for Best Director:
Ang Lee - Life of Pi
Best Actress:
Jennifer Lawrence - Silver Linings Playbook
Best Actor:
Daniel Day-Lewis - Lincoln
Best Supporting Actress:
Anne Hathaway - Les Miserables
Best Supporting Actor:
Philip Seymour Hoffman - The Master
Best Adapted Screenplay:
Chris Terrio - Argo
Best Original Screenplay:
Paul Thomas Anderson - The Master
Best Foreign Language Film:
Amour - (Austria/France)
Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: The Cabin in the Woods
Best Animated Film: Frankenweenie
Best Documentary: The Imposter
Labels:
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Kansas City Film Critics Chose "The Descendants" in 2011
by Leroy Douresseaux
I'm still playing catch-up on the 2012 film awards season. I discovered that I missed the Kansas City Film Critics Circle (KCFCC) in 2011, although I covered them in 2010. So here are their 2011 awards:
2011 Loutzenhiser Awards:
Best Film: The Descendants
Robert Altman Award for Best Director: Terrence Malick, The Tree of Life
Best Actor: George Clooney, The Descendants
Best Actress: Kirsten Dunst, Melancholia
Best Supporting Actor: Christopher Plummer, Beginners
Best Supporting Actress: Jessica Chastain, The Tree of Life
Best Original Screenplay: Mike Mills, Beginners
Best Adapted Screenplay: Steven Zaillian & Aaron Sorkin, Moneyball
Best Animated Film: Rango
Best Foreign Language Film: A Separation (Iran)
Best Documentary: Cave of Forgotten Dreams
Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: Hugo
I'm still playing catch-up on the 2012 film awards season. I discovered that I missed the Kansas City Film Critics Circle (KCFCC) in 2011, although I covered them in 2010. So here are their 2011 awards:
2011 Loutzenhiser Awards:
Best Film: The Descendants
Robert Altman Award for Best Director: Terrence Malick, The Tree of Life
Best Actor: George Clooney, The Descendants
Best Actress: Kirsten Dunst, Melancholia
Best Supporting Actor: Christopher Plummer, Beginners
Best Supporting Actress: Jessica Chastain, The Tree of Life
Best Original Screenplay: Mike Mills, Beginners
Best Adapted Screenplay: Steven Zaillian & Aaron Sorkin, Moneyball
Best Animated Film: Rango
Best Foreign Language Film: A Separation (Iran)
Best Documentary: Cave of Forgotten Dreams
Vince Koehler Award for Best Science Fiction, Fantasy or Horror Film: Hugo
Labels:
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Wednesday, March 13, 2013
Review: "Celeste and Jesse Forever" for Reals
TRASH IN MY EYE No. 19 (of 2013) by Leroy Douresseaux
Celeste & Jesse Forever (2012)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – R for language, sexual content and drug use
DIRECTOR: Lee Toland Krieger
WRITERS: Rashida Jones and Will McCormack
PRODUCERS: Lee Nelson, Jennifer Todd, and Suzanne Todd
CINEMATOGRAPHER: David Lanzenberg
EDITOR: Yana Gorskaya
COMPOSERS: Zach Cowie and Sunny Levine (for Biggest Crush)
Black Reel Award nominee
ROMANCE/COMEDY/DRAMA
Starring: Rashida Jones, Andy Samberg, Ari Graynor, Eric Christian Olsen, Emma Roberts, Chris Messina, Rich Sommer, Rebecca Dayan, Will McCormack, Rafi Gavron, Chris Pine, and Elijah Wood
Celeste & Jesse Forever is a 2012 comedy-drama and romance film, starring Rashida Jones and Andy Samberg. Jones co-wrote the screenplay with Will McCormack, who also has a small acting role in the film. Jones and Samberg play a divorcing couple trying to maintain friendship while both pursuing relationships with other people.
Celeste Martin (Rashida Jones) and Jesse Abrams (Andy Samberg) were best friends and high school sweethearts. Now, they are a married couple, separated and headed for divorce. They remain best friends, but their new status irritates their friends, especially Tucker (Eric Christian Olsen) and Beth (Ari Graynor), who think that Celeste and Jesse are being weird. When Jesse gets some shocking news from a former acquaintance, Celeste starts having serious doubts about what her relationship with Jesse should be.
Celeste & Jesse Forever is more a romantic drama than it is a romantic comedy. It is also a straight character drama, as introspective as it is surprisingly funny. Celeste & Jesse Forever is one of the best (if not the best) romance films of 2012, and it has a number of high qualities. The performances are good, and the directing is lively and captures the film’s off-beat sensibilities. The cinematography seems vaguely futuristic, and the soundtrack is filled with songs that are either perfect for the moment or are delightful in the way that they are inappropriate for a scene.
The film’s strength is its screenplay. Rashida Jones and Will McCormack earned a 2013 Independent Spirit Award nomination for “Best First Screenplay” and a best screenplay nomination from the 2013 Black Reel Awards. Jones and McCormack tread on familiar ground with this story, but twist and contort it in interesting ways. Every time I thought that this movie was looking too much like a cookie-cutter romance, the story struck an odd note or peculiar pose.
And Rashida Jones flows through this film with her lovely performance. If you write an interesting part for yourself, the smart thing to do is turn in a performance that captures what is different and exciting about your screenplay, and Jones does just that. Andy Samberg is good, but this story does not require him to be adventurous as an actor. There are also a number of good supporting performances. Will McCormack is funny as the odd weed dealer, Skillz, and Emma Roberts is a delightful scene-stealer as pop music princess, Riley Banks.
Celeste & Jesse Forever is always turning on the charm, but this movie works because it manages both to feel real and to be uncommon and distinctive. It’s sweet and melancholy and pungent and joyous.
8 of 10
A
NOTES:
2013 Black Reel Awards: 2 nominations: “Best Actress” (Rashida Jones) and “Best Screenplay, Original or Adapted” (Rashida Jones and Will McCormack)
Friday, March 08, 2013
Celeste & Jesse Forever (2012)
Running time: 92 minutes (1 hour, 32 minutes)
MPAA – R for language, sexual content and drug use
DIRECTOR: Lee Toland Krieger
WRITERS: Rashida Jones and Will McCormack
PRODUCERS: Lee Nelson, Jennifer Todd, and Suzanne Todd
CINEMATOGRAPHER: David Lanzenberg
EDITOR: Yana Gorskaya
COMPOSERS: Zach Cowie and Sunny Levine (for Biggest Crush)
Black Reel Award nominee
ROMANCE/COMEDY/DRAMA
Starring: Rashida Jones, Andy Samberg, Ari Graynor, Eric Christian Olsen, Emma Roberts, Chris Messina, Rich Sommer, Rebecca Dayan, Will McCormack, Rafi Gavron, Chris Pine, and Elijah Wood
Celeste & Jesse Forever is a 2012 comedy-drama and romance film, starring Rashida Jones and Andy Samberg. Jones co-wrote the screenplay with Will McCormack, who also has a small acting role in the film. Jones and Samberg play a divorcing couple trying to maintain friendship while both pursuing relationships with other people.
Celeste Martin (Rashida Jones) and Jesse Abrams (Andy Samberg) were best friends and high school sweethearts. Now, they are a married couple, separated and headed for divorce. They remain best friends, but their new status irritates their friends, especially Tucker (Eric Christian Olsen) and Beth (Ari Graynor), who think that Celeste and Jesse are being weird. When Jesse gets some shocking news from a former acquaintance, Celeste starts having serious doubts about what her relationship with Jesse should be.
Celeste & Jesse Forever is more a romantic drama than it is a romantic comedy. It is also a straight character drama, as introspective as it is surprisingly funny. Celeste & Jesse Forever is one of the best (if not the best) romance films of 2012, and it has a number of high qualities. The performances are good, and the directing is lively and captures the film’s off-beat sensibilities. The cinematography seems vaguely futuristic, and the soundtrack is filled with songs that are either perfect for the moment or are delightful in the way that they are inappropriate for a scene.
The film’s strength is its screenplay. Rashida Jones and Will McCormack earned a 2013 Independent Spirit Award nomination for “Best First Screenplay” and a best screenplay nomination from the 2013 Black Reel Awards. Jones and McCormack tread on familiar ground with this story, but twist and contort it in interesting ways. Every time I thought that this movie was looking too much like a cookie-cutter romance, the story struck an odd note or peculiar pose.
And Rashida Jones flows through this film with her lovely performance. If you write an interesting part for yourself, the smart thing to do is turn in a performance that captures what is different and exciting about your screenplay, and Jones does just that. Andy Samberg is good, but this story does not require him to be adventurous as an actor. There are also a number of good supporting performances. Will McCormack is funny as the odd weed dealer, Skillz, and Emma Roberts is a delightful scene-stealer as pop music princess, Riley Banks.
Celeste & Jesse Forever is always turning on the charm, but this movie works because it manages both to feel real and to be uncommon and distinctive. It’s sweet and melancholy and pungent and joyous.
8 of 10
A
NOTES:
2013 Black Reel Awards: 2 nominations: “Best Actress” (Rashida Jones) and “Best Screenplay, Original or Adapted” (Rashida Jones and Will McCormack)
Friday, March 08, 2013
Labels:
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Elijah Wood,
Emma Roberts,
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Tuesday, March 12, 2013
Second Sundance London Opens in April 2013
SUNDANCE LONDON FILM AND PANEL PROGRAMME ANNOUNCED FEATURE FILMS, SPECIAL EVENTS, SHORT FILMS AND PANELS AT THE O2, 25-28 APRIL
Passes and ticket packages now on sale; Individual tickets on sale Friday
The O2, 11 March 2013 — Sundance Institute and The O2 announced today the programme of panels, feature films and short films for the second Sundance London film and music festival, 25-28 April at The O2. Passes and ticket packages are available at www.sundance-london.com, and individual tickets will be on sale from 9:00 a.m. GMT Friday 15 March.
Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming. The 2013 programme continues its 2012 focus on presenting new work by independent filmmakers and exploring the interplay between independent film and music.
The programme announced today includes 18 feature films and nine short films across four sections, including a new UK Spotlight. Twenty-three films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards when they premiered at the Sundance Film Festival in Park City, Utah, U.S.A.. Among the artists expected to attend Sundance London are Lake Bell, Mike Birbiglia, Jimmy Carr, the Eagles, Barbara Kopple and Peaches, as well as Sundance Institute President & Founder Robert Redford.
Robert Redford said, “We would hope for Sundance London to be another 'Sundance' experience – lively, culturally relevant and fun. We look forward to engaging with audiences as we discover new voices, new points of view and new perspectives.”
John Cooper, Director of the Sundance Film Festival, said, “The film and panel programme announced today reflects the energy and enthusiasm that ignited audiences just weeks ago at our 2013 Sundance Film Festival. Building on the success of the first Sundance London, we again welcome the opportunity to engage with passionate and adventurous UK audiences and introduce them to the new work of independent filmmakers.”
Rebecca Kane, General Manager of The O2, said, “I am very excited to welcome Sundance London back to The O2 to build on the success of last year’s event, which attracted the likes of Robert Redford, Rufus and Martha Wainwright, and The Prince of Wales. Sundance London is a great opportunity for film and music fans to engage with artistes, and it also plays a big role in showcasing The O2’s ability to host high-profile global events that attract a variety of audiences.”
In addition to film screenings and panels, Sundance London will host several live music performances and events. Peaches has been announced as the first headlining act for the 2013 festival, and tickets for that performance are now on sale. Additional music performers will be named. Among the 17 musical acts at the first-ever Sundance London were Tricky and Martina Topley-Bird, Placebo, and Rufus and Martha Wainwright.
For more information visit www.sundance-london.com or follow @SundancefestUK on Twitter.
www.sundance-london.com
Passes and ticket packages now on sale; Individual tickets on sale Friday
The O2, 11 March 2013 — Sundance Institute and The O2 announced today the programme of panels, feature films and short films for the second Sundance London film and music festival, 25-28 April at The O2. Passes and ticket packages are available at www.sundance-london.com, and individual tickets will be on sale from 9:00 a.m. GMT Friday 15 March.
Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A., selected the film and panel programming. The 2013 programme continues its 2012 focus on presenting new work by independent filmmakers and exploring the interplay between independent film and music.
The programme announced today includes 18 feature films and nine short films across four sections, including a new UK Spotlight. Twenty-three films will make their international, European or UK premieres at Sundance London. Ten are by female filmmakers and six are by first-time feature filmmakers. The films collectively received 12 awards when they premiered at the Sundance Film Festival in Park City, Utah, U.S.A.. Among the artists expected to attend Sundance London are Lake Bell, Mike Birbiglia, Jimmy Carr, the Eagles, Barbara Kopple and Peaches, as well as Sundance Institute President & Founder Robert Redford.
Robert Redford said, “We would hope for Sundance London to be another 'Sundance' experience – lively, culturally relevant and fun. We look forward to engaging with audiences as we discover new voices, new points of view and new perspectives.”
John Cooper, Director of the Sundance Film Festival, said, “The film and panel programme announced today reflects the energy and enthusiasm that ignited audiences just weeks ago at our 2013 Sundance Film Festival. Building on the success of the first Sundance London, we again welcome the opportunity to engage with passionate and adventurous UK audiences and introduce them to the new work of independent filmmakers.”
Rebecca Kane, General Manager of The O2, said, “I am very excited to welcome Sundance London back to The O2 to build on the success of last year’s event, which attracted the likes of Robert Redford, Rufus and Martha Wainwright, and The Prince of Wales. Sundance London is a great opportunity for film and music fans to engage with artistes, and it also plays a big role in showcasing The O2’s ability to host high-profile global events that attract a variety of audiences.”
In addition to film screenings and panels, Sundance London will host several live music performances and events. Peaches has been announced as the first headlining act for the 2013 festival, and tickets for that performance are now on sale. Additional music performers will be named. Among the 17 musical acts at the first-ever Sundance London were Tricky and Martina Topley-Bird, Placebo, and Rufus and Martha Wainwright.
For more information visit www.sundance-london.com or follow @SundancefestUK on Twitter.
www.sundance-london.com
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