Review: "The Monster Squad" Still a Treat

TRASH IN MY EYE No. 122 (of 2007) by Leroy Douresseaux

The Monster Squad (1987)
Running time: 82 minutes (1 hour, 22 minutes)
MPAA – PG-13
DIRECTOR:  Fred Dekker
WRITERS:  Shane Black and Fred Dekker
PRODUCER:  Jonathan A. Zimbert
CINEMATOGRAPHER:  Bradford May
EDITOR:  James Mitchell
COMPOSER:  Bruce Broughton

HORROR/COMEDY

Starring:  Andre Gower, Robby Kiger, Stephen Macht, Tom Noonan, Brent Chalem, Ryan Lambert, Ashley Bank, Michael Faustino, Mary Ellen Trainor, Duncan Regehr, Leonardo Cimino, Lisa Fuller, Jonathan Gries, Jason Hervey, Carl Thibault, Michael Reid MacKay, Stan Shaw, and Jack Gwillim

The subject of this review is The Monster Squad, a 1987 comic horror film directed by Fred Dekker and written by Shane Black and Dekker.  In the movie, re-imagined versions of classic movie monsters invade a small town in a bid to control the world, but they face a bad of savvy kids determined to stop them.

The 1987 cult-favorite flick, the comic horror film, The Monster Squad, has recently found new life 20 years after being largely overlooked upon its initial theatrical release.  While it remains basically a horror flick for children (appropriate even in these politically correct times), the film is, at time, genuinely scary.  The villains of The Monster Squad are also an homage to the monsters of classic Universal Studios black and white monster movies.

Dracula, the Wolfman, Frankenstein, the Mummy, and Gill Man descend upon a small town in search of a diabolically powerful amulet that could give Dracula (Duncan Regehr) dominion over the world.  The only thing that could stop the amulet’s power is an incantation in a diary belonging to Dracula’s arch-nemesis, Van Helsing (Jack Gwillim).   However, the book has fallen into the hands of 12-year-old Sean Crenshaw (Andre Gower).

Sean and the rest of his young friends idolize classic monster movies, and call themselves The Monster Squad.  With the help of his gang of monster-obsessed misfits, Sean tries to stop Dracula’s nefarious plans.  Can the Monster Squad:  Sean, Patrick (Robby Kiger), Fat Kid/Horace (Brent Chalem), Rudy (Ryan Lambert), Eugene (Michael Faustino), and Sean’s little sister, Phoebe (Ashley Bank), save the day?  With Sean’s dad, policeman Del Crenshaw (Stephen Macht) and Scary German Guy (Michael Cimino) helping, they just might, and it’s worth watching this movie to find out.

Co-writers Shane Black and Fred Dekker, who also directs this film, seem to take the view that one can place children (in this case pre-teens and early teens) in a horror scenario – one as scary as the horror movies they might watch.  Although a juvenile cast means that Black and Dekker wouldn’t make a bloody, slasher film, to make a horror flick, they would still have to present their youthful characters in situations in which they face actual peril or severe bodily harm or even death.  After all, a scary movie for kids is still a scary movie.

The Monster Squad isn’t even a great horror film, or even a very good movie.  For one thing, the narrative occasionally takes great leaps, leaving out crucial scenes.  Perhaps, the producers forced cuts to reduce the film’s runtime, and the loss of scenes occasionally caused lapses in logic within the narrative.  Still, while it may not be a great movie, it’s a memorable B-movie.  The Monster Squad is just fun to watch, warts and all.

6 of 10
B

Monday, September 03, 2007

Updated:  Saturday, November 23, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Pixar to Be Honored by International 3D Society

Pixar Animation Studios to Receive Sir Charles Wheatstone Award from International 3D & Advanced Imaging Society January 28th, 2014

HOLLYWOOD, Calif.--(BUSINESS WIRE)--The International 3D & Advanced Imaging Society will present Pixar Animation Studios with the 2014 Sir Charles Wheatstone Award for creative excellence, it was announced in Hollywood. The award will be presented at the Society's 5th Annual Creative Arts Awards at a black tie ceremony held at Warner Bros. Studios on January 28th, 2014.

“The Society’s core mission is to educate the global creative community and recognize outstanding creative achievement by our industry’s leaders,” said Tom Cosgrove, CEO of 3net Studios and Co-Chairman of the Society. “John Lasseter and the Pixar team are at the very pinnacle of brilliant storytelling and flawless technical achievement, and most worthy of our highest honor,” he added.

“What an amazing honor to be recognized with this year's Wheatstone Award,” said John Lasseter, Chief Creative Officer of Walt Disney and Pixar Animation Studios. “In our films, story is the most important ingredient and 3D is an incredible tool to help tell those stories; it builds emotion, lands a joke and expands a world. 3D truly helps us make our films great, and to receive this award from the International 3D Society is awesome in every dimension of the word.”

The Society’s Creative Arts Awards annually bestow its gold Lumiere™ statuette to 3D movies, television programs, 4K technology and other content as selected by the Society’s voting membership.

“This year’s ‘Monsters University’ is but the most recent example of Pixar’s spectacular work,” said Society Awards Chairman Buzz Hays, Founder and CEO of the True Image Company. “Pixar has been our most honored studio, having received 4 previous Lumiere™ awards. The Sir Charles Wheatstone Award is our opportunity to recognize Mr. Lasseter and the entire Pixar organization for their entire body of work and their support of 3D storytelling.”

“Sir Charles Wheatstone is credited by history as the inventor of modern-day 3D. Although he lived and worked in the 19th century, his legacy of educating professionals about 3D remains an important function of the Society today,” said Society President Jim Chabin. “In honoring Pixar Animation Studios, we have an opportunity to shine the spotlight on the incredible contributions this creative team has made to filmmaking, and to storytelling, in 3D,” he added.

Pixar’s ‘Brave’ was honored by the Society as 2012’s “Best Animated 3D Feature.” Other honors include “Best 3D Short Film” awards for ‘Partly Cloudy’ (2010), ‘Day and Night’ (2011) and ‘La Luna’ (2012).

About The International 3D & Advanced Imaging Society:
The International 3D & Advanced Imaging Society is a community of content creators and professionals whose mission is to develop the arts and technologies of 3D, advanced imaging and its innovators. With over 60 companies and 800 professional members in 20 countries, the Society is open to individuals and organizations active in moving 3D and advanced imaging to an exciting new era of creative achievement and consumer support. For more information please visit: www.International3DSociety.com.

Happy Birthday, Jeffrey

Happy Birthday, Jeffrey.  Thanks for keeping it real.

Review: "Death of a President" Riveting, Troubling

TRASH IN MY EYE No. 62 (of 2007) by Leroy Douresseaux

Death of a President (2006)
COUNTRY OF ORIGIN:  UK
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – R for brief violent images
DIRECTOR:  Gabriel Range
WRITERS:  Simon Finch and Gabriel Range
PRODUCERS:  Simon Finch, Gabriel Range, and Ed Guiney
CINEMATOGRAPHER:  Graham Smith
EDITOR:  Brand Thumim
COMPOSER:  Richard Harvey

DRAMA/MYSTERY/THRILLER

Starring:  Hend Ayoub, Brian Bolland, Becky Ann Baker, Robert Mangiardi, Jay Patterson, Jay Whittaker, M. Neko Parham, Chavez Ravine, and Malik Bader

In his mock documentary (also known as a “mockumentary”), Death of a President, director Gabriel Range presents a scenario in which U.S. President George W. Bush is assassinated in October of 2007.  Death of the President pretends to be an investigative documentary that examines the key players and events surrounding the killing of President Bush, several years after the as-yet-unsolved murder occurred.

Death of a President follows the events leading up to the assassination and its aftermath, and the film also features a bevy of talking heads, which includes the people around the president, murder suspects, and their families.  In his hypothetical film, Range focuses on the fallout that follows Bush’s murder – specifically the media’s reaction, the rush to convict a Muslim as the assassin, and the machinations of newly installed President Cheney to grab more presidential powers.

Since its appearance at the 2006 Toronto International Film Festival, Death of a President has been highly controversial, and the producers had a difficult time finding a company to distribute the film to U.S. theatres.  Ultimately, Newmarket Films, which handled Mel Gibson’s The Passion of the Christ, distributed the film in the U.S.

I like this movie, although I did find the scenes in which President Bush was shot and the ones occurring at the hospital where he later died to be in poor taste.  Like him or not, he is (as of this writing) a sitting U.S. President, and to portray his death in so brutal and perhaps cavalier fashion is to traffic in mean-spiritedness and carelessness.

On the other hand, what takes place before the assassination and after is riveting stuff.  In the scenes leading up to the shooting, director Gabriel Range creates a riveting thriller that quietly races to its damnable turning point.  After Bush’s death, Range and his co-writer Simon Finch display a knowledge of the American mass media, of law enforcement (in particularly the FBI) and how they work and react to big events that is surprising considering they are not Americans.  Their spin on how Vice-President Dick Cheney would react if he became President after an assassination is dead-on (and maybe a little obvious considering Cheney’s actions as Vice-President).  Who doesn’t think Cheney would move to consolidate more power for himself with a Congress and a country reeling from shock, reluctant to challenge him, and desperate for leadership in such a time of crisis.

Range apparently specializes in these kinds of dramatizations of probable future events, such as his TV film, The Day Britain Stopped (which I’ve never seen).  He’s so-so at presenting interviews with the fictional talking heads involved in the events of Death of a President.  Some of the interviewees don’t come across as authentic, so the film sometimes feels phony.  Still, Range has created an engaging, unforgettable “what if,” and he smartly realizes what is most frightening about a U.S. president being assassinated.  Such an event could very well mean the definite beginning of the certain end of this grand experiment called the United States of America.

7 of 10
B+

Wednesday, April 11, 2007

NOTES:
2007 BAFTA TV Awards:  1 nomination:  “Best Visual Effects”

2007 International Emmy Awards:  1 win: “TV Movie/Mini-Series” (UK)

Updated:  Sunday, November 10, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "The Manchurian Candidate" Eternally Fantastic, Chilling

TRASH IN MY EYE No. 16 (of 2003) by Leroy Douresseaux

The Manchurian Candidate (1962) – B&W
Running time:  126 minutes (2 hours, 6 minutes)
DIRECTOR:  John Frankenheimer
WRITER:  George Axelrod (based upon the novel by Richard Condon)
PRODUCERS:  George Axelrod and John Frankenheimer
CINEMATOGRAPHER:  Lionel Lindon (D.o.P.)
EDITOR:  Ferris Webster
COMPOSER:  David Amram
Academy Award nominee

DRAMA/THRILLER with elements of war

Starring:  Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury, Henry Silva, James Gregory, Leslie Parrish, John McGiver, and Khigh Dhiegh

The subject of this movie review is The Manchurian Candidate, a 1962 suspense thriller and drama film from producer-director John Frankenheimer and producer-writer George Axelrod.  The movie is based on the book, The Manchurian Candidate, a political thriller from author Richard Condon that was first published in 1959.  The movie focuses on a former Korean War prisoner of war (POW) who believes that Communists brainwashed a fellow prisoner into becoming a political assassin.

Some film critics and a larger movie audience rediscovered The Manchurian Candidate in the late 1980’s and early 90’s, and since then, so much about the film’s themes and both its political and social relevance have been beaten into the ground.  As far as its quality as a film goes, it is a fine example of the beauty of black and white film and a excellent example of how film can deal with issues of memory and identity in so many novel and inventive ways.  I do want to make it clear that I recommend this film because of its wonderful cast and because it is a fantastic suspense thriller that has an intriguing mystery story.

Major Bennett Marco (Frank Sinatra) comes to believe that Raymond Shaw (Laurence Harvey), a member of his former platoon during the Korean Conflict who won the Congressional Medal of Honor, has been brainwashed by enemies of the United States.  Shaw is the stepson of the red-baiting, media-manipulator, Senator John Iselin (James Gregory), and the son of the too-ambitious-for-husband Mrs. Iselin (Angela Landsbury).  Because of the political confusion around Shaw, Bennett is unable to figure out exactly who the operators are, but he has ideas that he must play across a chessboard of shifting landscapes to discover who controls Shaw.

Directed by John Frankenheimer from a screenplay by George Axelrod, The Manchurian Candidate may, in certain political climates, seem quite relevant, but the power of its images will always remain strong.  From the opening scene of Shaw rousting his men out of a Korean brothel to the taunt cat and mouse games of psychological manipulation, the film is a haunting dream in which everything is what it seems and is even more than we might imagine.

I’ve always been fascinated by the scenes of the American soldiers being brainwashed and observed by a cabal of communists.  In one sense, the soldiers realize that they are in a large room where military type personnel are observing them, but another part of their minds registers that they are all guests at a flower club social.  In fact, while the white soldiers believe that the club members are mostly old white ladies, the lone black soldier sees the same club’s membership as haughty, well-dressed black women.

For most of the film, the only character that the audience can rely on is Shaw; we know he’s been brainwashed, and later we discover that the communists trained him to be an assassin.  The identities and motives of the other characters shift and are blurry.  Sinatra’s Bennett goes from a haunted veteran with memory problems in one half of the film to spy smasher in the next, but it’s a fine performance.  He makes us trust Bennett because we eventually have to lean on him, as he becomes the only stable element in the film.

The Manchurian Candidate is blessed with fine performances.  Although Shaw is a bit stiff throughout, he sells the film’s early brainwashing scenes, and he again becomes a strong presence at the end of the film.  Angela Landsbury gives one of the great supporting performances ever, and she does it in a quiet, subtle manner.  Her character might seem bold and obvious, but when I think about, I realize what a crafty snake she was and how she hid her serpentine ways.  In fact, there is a scene where Shaw first meets his future wife (Leslie Parrish) in which something happens that is virtually a metaphor for what Mrs. Iselin is and what her goals are.

Frankenheimer created what many consider to be a masterpiece, and it is indeed very good, as well as being visually, a gorgeous film.  I’ve always loved the dreamlike quality of black and white films.  Without the aid of color, a good director, like Frankenheimer, had to be accurate and quite efficient in shooting his film.  It was important that what was on the screen be able to move the story forward without the benefit of color as an identifying element.

When I think of how The Manchurian Candidate’s relevance resonates with audiences even to the present day, I also think of how this wonderful fantasy reveals so much about the mystery behind the face of a person.  I think of how people are often less than what I think they are, and how often they are more than what they seem.  The Manchurian Candidate is like a strange dream told in color, but we are only able to see it in black and white.  It reveals a truism about life:  reality is everything it seems, more or less.

9 of 10
A+

NOTES:
1963 Academy Awards, USA:  2 nominations: “Best Actress in a Supporting Role” (Angela Lansbury) and “Best Film Editing” (Ferris Webster)

1963 Golden Globes, USA:  1 win: “Best Supporting Actress” (Angela Lansbury); 1 nomination: “Best Motion Picture Director” (John Frankenheimer)

1963 BAFTA Awards:  1 nomination: “Best Film from any Source” (USA)

1994 National Film Preservation Board, USA:  National Film Registry

Updated:  Sunday, November 10, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Review: "The Manchurian Candidate" Remake a Missed Oppurtunity

TRASH IN MY EYE No. 166 (of 2004) by Leroy Douresseaux

The Manchurian Candidate (2004)
Running time: 130 minutes (2 hours, 10 minutes)
MPAA – R for violence and some language
DIRECTOR:  Jonathan Demme
WRITERS:  Daniel Pyne and Dean Georgaris (based upon the film screenplay by George Axelrod and based upon a novel by Richard Condon)
PRODUCERS:  Tina Sinatra, Scott Rudin, Jonathan Demme, and Ilona Herzberg
CINEMATOGRAPHER: Tak Fujimoto, ASC
EDITORS:  Carol Littleton, A.C.E. and Craig McKay, A.C.E.
COMPOSER:  Rachel Portman
BAFTA Award nominee

DRAMA/THRILLER with elements of mystery and science fiction

Starring:  Denzel Washington, Meryl Streep, Liev Schreiber, Jon Voight, Kimberly Elise, Jeffrey Wright, Ted Levine, Anthony Mackie, Bruno Ganz, Simon McBurney, Al Franken, and Miguel Ferrer

The subject of this movie review is The Manchurian Candidate, a 2004 thriller and drama film from director Jonathan Demme.  The film is an adaptation of the 1959 novel, The Manchurian Candidate, from author Richard Condon.  It is also a re-imagining of director John Frankenheimer’s 1962 film adaptation of the book.  In the 2004 film, a war veteran begins to believe that during the Gulf War, soldiers in his U.S. Army unit were kidnapped and brainwashed for sinister purposes.

If you’re going to remake a great movie, you should try to make the new movie also be a great film, or at the very least try to make it a…very good film.  The Manchurian Candidate, Jonathan Demme's (The Silence of the Lambs) update of the Frank Sinatra classic of the same title, which was directed by John Frankenheimer, is neither great nor very good.  It’s the worst thing one could get from the esteemed filmmakers involved in the project, all of whom have glowing resumes.  The new The Manchurian Candidate is a flat out average film that’s barely worth an exciting trip to the video store.

In the original 1962 film, the Manchurian Candidate was a sleeper agent/assassin trained by the Red Chinese.  In the new film, the sleeper agent is Raymond Prentiss Shaw (Liev Schreiber).  Raymond Shaw is the subject of a mind control project by Manchurian Global, a huge conglomerate with its hands in everything from providing services to the military to funding political campaigns and owning politicians.  With the help of their political cronies and Raymond’s mother, Senator Eleanor Prentiss Shaw (Meryl Streep), Raymond, a young Congressman from New York, is made the Vice-Presidential nominee on the opposition (likely the Democrats, but not directly named) party’s ticket in the upcoming presidential race.

Raymond had once been Sergeant Raymond Shaw back in 1991 during Operation Desert Shield just before it became Operation Desert Storm.  He answered to U.S. Army Major Bennett Marco (Denzel Washington).  Washington, Shaw, and the rest of their platoon were ambushed in Iraq, but all they remember about the incident is that Shaw single-handedly saved the lives of the entire platoon (except for two men who were killed during the attack) after Major Marco had been knocked unconscious.

However, Ben Marco runs into another platoon buddy, Corporal Al Melvin (Jeffrey Wright), after a Boy Scout assembly where Marco recounts Shaw’s heroism.  Melvin is disheveled, and he tells Marco a fantastic tale of strange dreams he’s been having about their platoon being kidnapped and experimented on after they were ambushed.  Melvin’s story contradicts the official version of what happened in Kuwait, the one that made Shaw a Congressional Medal of Honor recipient.  Although, Marco is uncomfortable with Melvin’s tale, he knows there is a ring of truth to it because he also has never been comfortable with the official version of the ambush and their rescue.  He thinks someone was inside his head after his platoon was ambushed, and he wonders if the same thing happened to Shaw.  Marco must find out, and he’s running out because the nation just may be voting for a man whose mind is controlled by sinister forces.

It’s supposedly not always fair to compare the new version of something to the old, but it happens anyway.  Nearly everything that made the classic black and white The Manchurian Candidate an unusually creepy and unique suspense thriller is present in the 2004 version, but the filmmakers have taken the characters, plot, and settings (Korea becomes the Persian Gulf in the new film) and made a flat thriller, in which the thrills only occasionally register.  The surprises are mild, and while the changes made for the new film seem like novel ideas, the filmmakers don’t get much heat from them.

I blame everybody.  Denzel Washington’s performance is either phoned in or overwrought, but it’s his worst in a long time.  Meryl Streep tries to get traction from her evil character, but it’s a performance wasted on an all-too-phony character; besides, Ms. Streep just can’t replace Angela Landsbury’s mega evil mom from the original.  I place the most blame on director Jonathan Demme.  Back in the 1980’s, his novel spin on pedestrian film stories and his quirky characters were stunningly refreshing.  He hit the big time with the hugely entertaining and very well done The Silence of the Lambs, but since then, he has become a big time Hollywood player making mediocre films.  He continues that trend with The Manchurian Candidate.

Early Internet rumor mongering about The Manchurian Candidate described this film as a hot political potato that took sharp swipes at President Hand Puppet and his administration, swipes that would draw blood like Michael Moore’s Fahrenheit 9/11 did, but no such luck.  You wouldn’t miss much if you waited for this to appear on TV – basic cable TV.

4 of 10
C

NOTE:
2005 Golden Globes, USA:  1 nomination: “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Meryl Streep)

2005 BAFTA Awards:  1 nomination: “Best Performance by an Actress in a Supporting Role” (Meryl Streep)

2005 Black Reel Awards:  2 nominations:  “Best Supporting Actor” (Jeffrey Wright) and “Best Supporting Actress” (Kimberly Elise)

Updated:  Sunday, November 10, 2013


The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Advanced Tickets for "The Hobbit" Part 2 on Sale Tomorrow

Advance Tickets for “The Hobbit: The Desolation of Smaug” Go on Sale in the U.S. on Thursday, November 21, at 9:00 AM Eastern Time

Midnight showings set for Thursday, December 12

BURBANK, Calif.--(BUSINESS WIRE)--Moviegoers who are eagerly anticipating the December 13 release of the epic fantasy adventure “The Hobbit: The Desolation of Smaug,” will be able to secure their seats nearly a month in advance when tickets go on sale, online and in theaters in the U.S., on Thursday, November 21 at 9:00 AM ET. Fans will have the opportunity to see the movie first at midnight on Thursday, December 12.

“The Hobbit: The Desolation of Smaug,” a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), is the highly anticipated second film in Peter Jackson’s epic trilogy adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.

Midnight showings for the first film in the Trilogy, “The Hobbit: An Unexpected Journey,” took in $13 million in the U.S. The film ultimately went on to gross over a billion dollars worldwide.

From Academy Award®-winning filmmaker Peter Jackson, director of “The Lord of the Rings” Trilogy, comes “The Hobbit: The Desolation of Smaug.” Ian McKellen returns as Gandalf the Grey, with Martin Freeman in the central role of Bilbo Baggins, and Richard Armitage as Thorin Oakenshield. The international ensemble cast is led by Benedict Cumberbatch, Evangeline Lilly, Lee Pace, Luke Evans, Stephen Fry, Ken Stott, James Nesbitt, and Orlando Bloom as Legolas. The film also stars Mikael Persbrandt, Sylvester McCoy, Aidan Turner, Dean O’Gorman, Graham McTavish, Adam Brown, Peter Hambleton, John Callen, Mark Hadlow, Jed Brophy, William Kircher, Stephen Hunter, Ryan Gage, John Bell, Manu Bennett and Lawrence Makoare.

The screenplay for “The Hobbit: The Desolation of Smaug” is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro, based on the novel by J.R.R. Tolkien. Jackson also produced the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh. The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Philippa Boyens and Eileen Moran serving as co-producers.

The creative behind-the-scenes team is led by director of photography Andrew Lesnie, production designer Dan Hennah, editor Jabez Olssen and composer Howard Shore. The costumes are designed by Bob Buck, Ann Maskrey and Richard Taylor. Taylor is also overseeing the design and production of armor, weapons, creatures and special makeup, which are once again being made by the award-winning Weta Workshop. Weta Digital is taking on the visual effects for the film, led by senior visual effects supervisor Joe Letteri. The hair and makeup designer is Peter Swords King. The conceptual designers are John Howe and Alan Lee. The visual effects supervisor is Eric Saindon, with David Clayton & Eric Reynolds serving as animation supervisors.

Under Jackson’s direction, “The Hobbit: The Desolation of Smaug” was shot in 3D 48 frames-per-second and will be released in High Frame Rate 3D (HFR 3D) in select theaters, other 2D and 3D formats, and IMAX®. Production took place at Jackson’s own facilities in Miramar, Wellington, and on location around New Zealand. Post production took place at Park Road Post Production in Wellington.

New Line Cinema and Metro-Goldwyn-Mayer Pictures Present a Wingnut Films Production, “The Hobbit: The Desolation of Smaug.” The film is a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), with New Line managing production. Warner Bros. Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM.

www.thehobbit.com