Negromancer News Bits and Bites for the Week of September 7th to September 13th, 2014 - Update #14

NEWS:

From the Telegraph:  Sarah Palin is still hilarious. Yes, we do know who you are; you're that Tina Fey impersonator.

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From YahooNews:  Celebrities weigh in on Scottish referendum for independence from Great Britain.

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From HuffingtonPost:  The Bundy's have a family reunion.  The lead cast of "Married... with Children," Katey Sagal, Christina Applegate, Ed O'Neill, and David Faustino, reunite as Sagal is honored with a star on the Hollywood Walk of Fame on Tuesday, September 9, 2014.

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From InsideTV:  Chris Pratt, the breakout star of Guardians of the Galaxy, will host the first "Saturday Night Live," of the new season.

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From TheHollywoodReporter:  Didn't know that Marlon Wayans was being sued.  And, of course, being that it's Marlon, it is a hilarious lawsuit.

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From Variety:  According to early estimates, Marvel's Guardians of the Galaxy wins the September 5th to 7th, 2014 weekend box office.

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From YahooMovies:  I did not know that The Identical was a "faith-based" film.  It is a box office flop, at least in its first week.  The is a year that saw several successful faith-based films, including Heaven is for Real ($94.4 million), God's Not Dead ($60.7 million), and Son of God ($59.7 million).


COMIC BOOKS - Movies and Books

From TheHollywoodReporter:  "Hulk vs. Thanos" by Jim Starlin, coming before the end of the year.

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From TheVerge:  Spy photos for the new Batmobile from "Batman Vs. Superman: Dawn of Justice."

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From TheWrap:  FOX's "Gotham," a film set in Batman's hometown before Batman debuts, has been named the "most promising new show" of the Fall by the Television Critics Association.


STAR WARS:

From TheWrap:  Actor Mark Ruffalo reaches out to Star Wars Episode 8 writer-director, Rian Johnson, in hopes of landing a role in the film.  Ruffalo previously worked with Johnson on The Brothers Bloom.

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From TheVerge:  First, a British pilot and engineer accidentally caught sight of the Millennium Falcon.  Now, savvy photographers have taken photos of what may be an X-Wing fighter.

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From YahooMovies:  A message from J.J.Abrams leads to speculation about the appearance of a third Death Stars.

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From InsideTV and ScreenRant:  Two articles about how the upcoming Disney XD animated series, "Star Wars Rebels" will connect to the existing films and the upcoming Episode 7.

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From HuffingtonPost:  A pilot inadvertently captures the Millennium Falcon while unknowingly flying over an Episode 7 set.


REVIEWS:

From TheHollywoodReporter:  A review of Mike Binder's Black and White with Kevin Costner and Octavia Spencer.  Oscar buzz for Spenser - hope it goes better than the results of her Oscar buzz for Fruitvale Station.


OBITS:

From YahooTV:  Chicago-based actress, Molly Glynn, died in an accident when a tree fell on her while she was bike riding with her husband.  Glynn had a recurring role on the television series, " Chicago Fire."


MISC:

From ESPN via RSN:  NFL star Adrian Peterson charged after "whooping" his son.

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From YahooSports:  No, he doesn't know where Alabama is...

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From YahooSports:  The Baltimore Ravens cut running back, Ray Rice, after the full disturbing video of him knocking out his wife (then fiance) emerges.  Shortly afterwards, the NFL suspended him indefinitely.

Review: "Sabotage" Mostly a Failure

TRASH IN MY EYE No. 42 (of 2014) by Leroy Douresseaux

Sabotage (2014)
Running time:  109 minutes (1 hour, 49 minutes)
MPAA – R for strong bloody violence, pervasive language, some sexuality/nudity and drug use
DIRECTOR:  David Ayer
WRITERS:  David Ayer and Skip Woods
PRODUCERS:  David Ayer, Bill Block, Paul Hanson, Palak Patel, and Ethan Smith
CINEMATOGRAPHER:  Bruce McCleery (D.o.P.)
EDITOR:  Dody Dorn
COMPOSER: David Sardy

CRIME/THRILLER with elements of action, drama and mystery

Starring:  Arnold Schwarzenegger, Olivia Williams, Sam Worthington, Joe Manganiello, Josh Holloway, Terrence Howard, Mireille Enos, Harold Perrineau, Max Martini, Kevin Vance, Mark Schlegel, and Martin Donovan

Sabotage is a 2014 crime thriller co-written and directed by David Ayer.  The film stars Arnold Schwarzenegger as the leader of an elite DEA task force that is being hunted after they take money from a drug cartel safe house.

Sabotage focuses on John “Breacher” Wharton (Arnold Schwarzenegger), the commander of an elite Drug Enforcement Agency (DEA) Special Operations Team.  During a raid on a drug cartel safe house, the team steals 10 million dollars from the cartel's massive stash of cash.  However, the team members are unable to hide the fact that some of the cartel's money is missing from their DEA superiors, and the money also disappears from the place where the team hid it.

Six months later, team members find themselves being murdered one by one.  Wharton joins local police Investigator Caroline Brentwood (Olivia Williams) in an attempt to discover who is killing members of his team.  Why are they being killed?  Where is the money?  Are the answers closer than Wharton and Brentwood would like to admit?

Sabotage is a muddled mess.  In many of these reviews, I talk about what the movie should have been or could have been.  Sometimes, I even guess what story the director and writer(s) were trying to tell.  In the case of Sabotage, I am not sure what the filmmakers wanted to give us.

There are some good actors in this movie, but it still manages to seem miscast.  What is Arnold Schwarzenegger doing here?  He looks old and tired, while delivering some of the worst acting of his career; this might be the worst of his career.  There are some good moments in Sabotage, even some compelling and thrilling moments.  Sabotage had potential...

3 of 10
C-

Friday, September 5, 2014


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

22 Viacom Networks Will Be Available on Sony's Cloud-Based TV Service

Viacom and Sony Reach Landmark Internet Distribution Agreement

Deal Marks Major Programming Agreement for Sony’s Forthcoming Cloud-Based TV Service in the United States

Twenty-Two Viacom Networks, including Comedy Central, MTV, Spike, VH1, Nickelodeon to be Available on New Service at Launch

NEW YORK--(BUSINESS WIRE)--Viacom (NASDAQ:VIAB)(NASDAQ:VIA) and Sony Corporation (NYSE:SNE) today announced a landmark agreement for Sony’s forthcoming cloud-based TV service to carry 22 Viacom networks at launch. The deal marks Viacom’s first-ever agreement to provide its networks for an Internet-based live TV and video on demand service.

    “Viacom’s award-winning networks are a perfect match for our new service, ensuring that our customers will be able to access the shows they love on their favorite devices, when and how they choose.”
“Viacom always strives to create transformational opportunities that combine consumer value and technological innovation,” said Philippe Dauman, President and CEO, Viacom. “Given our young, tech-savvy audiences, our networks are essential for any new distribution platform, and we’re excited to be among the many programmers that will help power Sony’s new service and advance a new era for television.”

“Our new cloud-based TV service will combine the live TV content people love most about cable with the dynamic experience they have come to expect from our network,” said Andrew House, Group Executive, Network Entertainment Business, Sony Corporation. “Viacom’s award-winning networks are a perfect match for our new service, ensuring that our customers will be able to access the shows they love on their favorite devices, when and how they choose.”

The partnership unites Sony’s rapidly growing network and more than 75 million Internet-enabled Sony devices in U.S. living rooms with Viacom’s content portfolio, all of which have deep connections with today’s young adults. Viacom owns and operates the largest basic cable portfolio in the United States by audience share, including 25.9% share of basic cable viewership among young people aged 2 to 34*.

Sony’s cloud-based TV service will offer subscribers Internet-based live TV and video on demand from major programmers, including the following content from Viacom:

1. At least 22 Viacom linear networks at launch, including BET, CMT, Comedy Central, MTV, MTV2, Nickelodeon, Nick Jr., Nicktoons, Spike, TV Land and VH1, BET Gospel, Centric, Logo, CMT Pure Country, MTV Hits, MTV James, mtvU, Palladia, TeenNick, Vh1 Classic and Vh1 Soul and all available HD.
2. Authenticated access to hundreds of hours of programming on Viacom’s TV Everywhere websites and apps. Viacom currently offers TV Everywhere apps from Nickelodeon, MTV, Comedy Central, BET, VH1, CMT and Logo.

3. Viacom’s full video-on-demand package.

Additional terms of the agreement were not disclosed.

Sony will announce more details about its new cloud-based TV service in the near future.

*Nielsen Media Research, July 2014

About Viacom
Viacom is home to premier global media brands that create compelling television programs, motion pictures, short-form video, apps, games, consumer products, social media and other entertainment content for audiences in more than 160 countries and territories. Viacom's media networks, including MTV, VH1, CMT, Logo, BET, CENTRIC, Nickelodeon, Nick Jr., TeenNick, Nicktoons, Nick at Nite, Comedy Central, TV Land, SPIKE, Channel 5 (UK), Tr3s, Paramount Channel and VIVA, reach approximately 700 million television subscribers worldwide. Paramount Pictures, America's oldest film studio, is a major global producer and distributor of filmed entertainment.

For more information about Viacom and its businesses, visit www.viacom.com. Keep up with Viacom news by following Viacom's blog at blog.viacom.com and Twitter feed at www.twitter.com/viacom.

Sony Network Entertainment International
Sony Network Entertainment International LLC (SNEI), a subsidiary of Sony Corporation of America, is the premier provider of digital entertainment. Through the Sony Entertainment Network portal, consumers around the world are able to access their favorite digital entertainment conveniently and instantly on their favorite connected devices. SNEI offers the latest and highest quality music, video, and game content through Sony Entertainment Network as well as PlayStation Network while also delivering third-party services. In addition, SNEI provides a compelling consumer experience through innovative content discovery features and a simple user interface that is globally consistent, yet locally relevant.

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Paramount Pictures Picks Up Chris Rock's Third Directorial Effort, "Top Five"

PARAMOUNT PICTURES TO DISTRIBUTE CHRIS ROCK'S "TOP FIVE" WORLDWIDE

DEAL WAS ANNOUNCED JOINTLY BY THE STUDIO AND IAC FILMS FOLLOWING ITS PREMIERE AT THE TORONTO INTERNATIONAL FILM FESTIVAL

Paramount Pictures, a division of Viacom (NASDAQ: VIABN, VIA), announced it will distribute writer / director Chris Rock's "TOP FIVE" worldwide. The news comes as the film from producer Scott Rudin, and his IACF partner Barry Diller, earned rave reviews at the 2014 Toronto International Film Festival.

"Chris and I go back decades, both personally and professionally, and so I am particularly proud to have watched his career grow to its highest heights over many decades. This film showcases brilliantly how talented Chris is as a filmmaker and storyteller and we are thrilled to be partnering with him, Scott Rudin and my longtime friend, the legendary Barry Diller and IACF for its worldwide launch," said Brad Grey, Chairman and CEO of Paramount Pictures.

Written, directed by, and starring Chris Rock, “TOP FIVE” tells the story of New York City comedian-turned-film star Andre Allen, whose unexpected encounter with a journalist (Rosario Dawson) forces him to confront the comedy career—and the past—that he's left behind.  Starring Chris Rock, Rosario Dawson, Kevin Hart, Tracy Morgan, Cedric The Entertainer, J.B. Smoove, Sherri Shepherd, Anders Holm, Romany Malco, Leslie Jones, Michael Che, and Jay Pharoah.  The film is produced by Scott Rudin and Eli Bush.  The Co-Producers are Shawn “Jay Z” Carter and Kanye West; the Executive Music Producer is Questlove.  Barry Diller and Scott Rudin’s IACF financed the film.

UTA negotiated the deal on behalf of the IACF and the filmmakers. The studio's negotiating team was lead by Paramount's SVP of Acquisition and Production Eben Davidson and Rona Cosgrove, EVP of Business Affairs.

Top critics have said about “TOP FIVE”:

“Chris Rock's third turn in the directing chair proves the proverbial charm in this smart, ferociously funny Hollywood-insider romp… it’s also a candid, fresh, ferociously funny snapshot of life in the celebrity bubble.  Rock has finally found a big-screen vehicle for himself that comes close to capturing the electric wit, shrewd social observations and deeply autobiographical vein of his standup comedy,” said VARIETY’s Scott Foundas

“Chris Rock brings it big time in this uproarious celebrity self-portrait....piling on one hilarious sequence after another in a barrage of hard-hitting humor that has rarely been so successfully dished out in a single film. It’s like watching a first-rate standup routine transformed into fiction, or in this case auto-fiction, as Rock has more on his mind than just making us laugh, offering up a witty celebrity satire that doubles as a love story set during one long and eventful New York City day,” said THE HOLLYWOOD REPORTER’s Jordan Mintzer

“Rock has hit a career high with his new film TOP FIVE....Hilarious situations continue to top themselves as the film progresses. Just when you think the surprises are over, another famous face and comedy icon appears…. Rock may know the ins and outs of American stand-up better than any of his peers because he uses that knowledge masterfully in casting this picture. But TOP FIVE transcends its genre…. It’s a movie about the current state of race relations. It’s a movie about honesty and forgiveness. It's another searing indictment of the world of celebrity. It’s even a movie about the lasting legacy of hip-hop. And it all combines to smash you silly and leave you breathlessly wanting more,“ said HITFIX’s Greg Ellwood

“Chris Rock is at his rude, ribald and raucous best in the laugh-out-loud TOP FIVE, a deliriously funny film that looks destined to be a box office hit. Written, directed and starting Rock, the film mines similar territory to Woody Allen at his younger best – sex, comedy, paranoia, insecurity and more sex – but with a much rawer and uncensored edge,” said SCREEN INTERNATIONAL’s Mark Adams

About Paramount Pictures Corporation
Paramount Pictures Corporation (PPC), a global producer and distributor of filmed entertainment, is a unit of Viacom (NASDAQ: VIAB, VIA), a leading content company with prominent and respected film, television and digital entertainment brands. Paramount controls a collection of some of the most powerful brands in filmed entertainment, including Paramount Pictures, Paramount Animation, Paramount Vantage, Paramount Classics, Insurge Pictures, MTV Films, and Nickelodeon Movies. PPC operations also include Paramount Home Media Distribution, Paramount Pictures International, Paramount Licensing Inc., and Paramount Studio Group.

About IAC
IAC (NASDAQ: IACI) is a leading media and Internet company comprised of more than 150 brands and products, including Ask.com, About.com, Match.com, HomeAdvisor and Vimeo.  Focused on the areas of search, applications, online dating, media, and eCommerce, IAC’s family of websites is one of the largest in the world, with over a billion monthly visits across more than 100 countries. The Company is headquartered in New York City and has offices worldwide.

"The Good Lie" for a Good Cause

Filmmakers Create Humanitarian Fund for Sudanese Refugees Whose Courageous Stories Inspired “The Good Lie”

BEVERLY HILLS, Calif.--(BUSINESS WIRE)--The producers of “The Good Lie” have established the Good Lie Fund, named for the upcoming feature drama from Alcon Entertainment, Imagine Entertainment, Black Label Media and Warner Bros. Pictures. The film is based upon the harrowing and inspirational real-life experiences of thousands of children impacted by war in Sudan.

    “This film was a labor of love for all of us. I am so proud and happy to know that it will not only be a compelling and personal story for audiences everywhere to see, but may also serve to illuminate an ongoing and little-known human drama.”
The Good Lie Fund (www.thegoodliefund.org) was created to support the humanitarian and educational needs of those who have come to be universally known as the Lost Boys and Girls, uprooted and orphaned by the Sudanese Civil War that began in 1983. Its initial focus will be the Kakuma refugee camp in Kenya, which came into being to meet the first wave of survivors of the conflict—the majority of them children, alone, and on foot—and which currently houses thousands of refugees fleeing from continuing violence and unrest.

The Fund will also seek to raise worldwide awareness of the dire situation that still exists in South Sudan. As part of this publicity campaign, the producers of “The Good Lie” have planned a Washington, D.C. fundraiser in mid-September to benefit the war refugees from South Sudan and those still living in the Kakuma camp. Many corporations have already pledged their support and donations. Black Label Media and Alcon Entertainment have also seeded the Good Lie Fund to start the fundraising effort, in honor of the film and its story.

Additionally, “The Good Lie” will be made available for select screenings by various philanthropic groups and Lost Boys and Girls communities throughout the U.S. and overseas, in advance of its October 3, 2014 U.S. release date, to aid in their own fundraising and awareness efforts.

Said producer Molly Smith, “This film was a labor of love for all of us. I am so proud and happy to know that it will not only be a compelling and personal story for audiences everywhere to see, but may also serve to illuminate an ongoing and little-known human drama.”

Director Philippe Falardeau’s involvement with the plight of the South Sudanese refugees began with a documentary assignment that was cut short due to escalating hostilities, and he sees “The Good Lie”—both the film and the Fund—as continuing what he had just begun when evacuated from South Sudan in 1994. “I had the feeling, then, that I was abandoning them, and that feeling stayed with me until I read Margaret Nagle’s script for ‘The Good Lie.’ It was like a calling, to finish this in another way and to tell their story.”

Contact information for the Good Lie Fund will appear in the film’s end credits.

“The Good Lie” opens in limited theatrical engagements October 3, 2014. It stars Reese Witherspoon; Arnold Oceng, Ger Duany, Emmanuel Jal and Kuoth Wiel, all of whom are of Sudanese descent; and Corey Stoll. Directed by Philippe Falardeau from a screenplay by Margaret Nagle, “The Good Lie” was produced by Ron Howard, Brian Grazer, Karen Kehela Sherwood, Molly Smith, Thad Luckinbill and Trent Luckinbill. Andrew A. Kosove, Broderick Johnson, Kim Roth, Ellen H. Schwartz, Deepak Nayar, and Bobby and Deb Newmyer served as executive producers. The creative filmmaking team included director of photography Ronald Plante, production designer Aaron Osborne, editor Richard Comeau, costume designer Suttirat Anne Larlarb and composer Martin Leon.

A presentation of Alcon Entertainment, Imagine Entertainment and Black Label Media, “The Good Lie” is a Black Label Media, Imagine Entertainment and Reliance Entertainment production and will be distributed domestically by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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Joe and Anthony Russo Talk About Making "Captain America: The Winter Soldier" Grounded in Realism

Joe and Anthony Russo are the film-making brothers who won an Emmy for directing the episode "Pilot," of one of my favorite TV shows, "Arrested Development."  They also directed the smash hit Marvel film, Captain America: The Winter Soldier.  Walt Disney Home Entertainment provided this question and answer with the brothers to coincide with the release of Captain America: The Winter Soldier on Blu-ray and DVD. - Editor's note

AN INTERVIEW WITH JOE AND ANTHONY RUSSO FOR THE BLU-RAY AND DVD RELEASE OF CAPTAIN AMERICA: THE WINTER SOLDIER

Marvel’s Captain America: The Winter Soldier is the second chapter in the thrilling Captain America movie franchise. The exhilarating story follows Marvel’s First Avenger, Captain America, along with Black Widow and their new ally The Falcon as they battle their most mysterious and powerful enemy yet, the Winter Soldier.

With the blockbuster superhero movie about to be released on 3D Blu-ray, Blu-ray, DVD and Digital HD, we catch up with the directing team of brothers Joe and Anthony Russo to find out about their experience on the iconic Marvel project…

What makes Marvel’s Captain America: The Winter Soldier stand out from other Marvel movies?

Joe: I think it is the level of realism and intensity that makes this movie stand out. Up to this point, I think Marvel films have really embraced the fantasy component, but we have tried to infuse it with intensity and edge. It’s aggressive. We wanted a movie that would grab you and wouldn’t let go until the end. Hopefully we’ve accomplished that and I think that’s what distinguishes it from other Marvel movies.

How did you accomplish this?

Joe: We talked to Marvel early on and said, “People will tell you that they love chocolate ice cream, but if all you give them is chocolate ice cream, sooner or later they’ll get sick of it.” We wanted to throw a curveball and add something to their toolbox going forward that they could use to diversify and dimensionalize the universe.

Why was it so important for you to ground the action in reality?

Anthony: The movie is set in the political genre and that world is exciting because it has stakes that feel real to you. We were trying to play on a lot of our contemporary anxieties in the storytelling and the realisms flowed from that. This movie has a darker tone and it needs real stakes. That’s what drove us.

How difficult was the challenge of adding more realism to the Marvel Cinematic Universe?

Joe: Well, I was ecstatic as any fan on the planet when I saw what Kevin Feige was doing with The Avengers. I’ve always thought in my own head, ‘How do you pull off an Avengers movie?’ How do you get past so many logistical and financial reasons that mean this movie shouldn’t exist? It’s a real feat, and he pulled it off. If you knew how complicated it is behind-the-scenes to make a movie like that, you’d be amazed. You want the comfort food of that idea, but I think that in order for these movies to keep growing and staying interesting, they have to shift; the tone has to shift. We have to experiment with different flavors…

Anthony: Like Pistachio!

Joe: …To keep it fresh. Hopefully, that’s what we’ve hopefully done with this movie.

What was your biggest challenging in directing the movie?

Joe: The choreography of the action is intense and it’s a very protracted process. It takes a lot of prep and you’re working with a lot of people. Thankfully, we were working with really talented people; from our stunt coordinators to our VFX department to our special effects guys – everybody was the best in the business. Marvel attracts the crème de la crème of talent in the business.

Was it easier to step into a film where most of the characters have been pre-established in earlier Marvel movies?

Joe: We come from television shows like Community and Arrested Development. We always say that after two episodes, the actor knows the character better than we ever will. In that sense, it’s easy to rely on the actor to bring truth to the character. It’s great for us because it’s like a short hand where they can show up with the characters already in place. We just worry about the arcs and the tone of the film. It takes a lot of burden off directing the performance and allows you to focus on the bigger picture of the movie.

How did you balance technology with real sets on Marvel’s Captain America: The Winter Soldier?

Anthony: We wanted to be very careful with that on this film. The level of realism was important to us and it was something that Marvel really embraced. It was a challenge to render the world and the effects in a way that felt very grounded and real world.

Joe: It’s an execution thing. We had a sequence on a freeway and we could have gone to a back-lot and built a little stretch of freeway and green-screened it. But, instead of that, we went to our hometown and got in a lot of trouble for shutting down the freeway for two weeks. We were able to shoot and execute a lot of those stunts practically and I think that enhances your experience because you can feel those things happening for real.

How did it feel to shoot in your hometown, Cleveland?

Joe: It was awesome to be able to go home and shoot. It’s a town that we love and know really well. Not only were we able to share this town with the crew, but also it was easier for us to find locations. We know where everything is, so we could quickly explain to the crew where certain locations could be shot. We understood how to shoot the town because it was the third movie that we had shot there. Also, it was fantastic to have our family around as a support system when you’re working on something of this scale.

Robert Redford was a stellar addition to the cast of Marvel’s Captain America: The Winter Soldier. What was it like to direct such an iconic actor?

Joe: It was amazing.

Anthony: Amazing!

Joe: We couldn’t say enough about him as an individual, and as an actor. He’s truly a renaissance man. He’s like a prince of a human being. And we’re children of the 1970s and of 1970s films, so we’ve seen everything he’s done. I’ve seen Butch Cassidy And The Sundance Kid a million times. To be able to work with him was the highlight of our career.

Robert Redford is a distinguished director, as well as an accomplished actor. Did he offer his directorial input into the movie?

Joe: He is so easy-going and balanced and his knowledge base is incredible. He will offer input or advice when he feels it’s necessary, but he’s never overbearing with it.

Anthony: He’s very respectful and he’s just a lovely man. It was really a privilege to work with him.

What makes the Winter Soldier the perfect villain for the movie?

Joe: It’s a gift to have The Winter Soldier in our movie; it’s a real gift. The genius of [Ed] Brubaker’s comic run is that he took Captain America’s best friend and turned him into the villain. They always say that your hero is only as good as your villain. And, when the hero has so much emotional turmoil in his relationship with the villain, you can’t ask for better storytelling. We were gifted with a great story arc between Captain America and the Winter Soldier. That’s another reason why I think the movie skews darker, too. It’s very rare that you find a villain who has such a strong emotional connection to the hero and where the stakes are so high.

Anthony: It’s very complicated.

Joe: We said to them that this is Star Wars. You know, it’s Darth Vader and Luke Skywalker.

In your opinion, can any woman replace Peggy Carter in Captain America’s life?

Joe: Hayley Atwell did a fantastic job with that role. She’s very charming and beautiful.

Anthony: And that was certainly an issue that Cap was dealing with in this movie.

Joe: And it’s how to reconcile that in his life.

Anthony: But the relationships are very important in the movie in general. His relationship with Natasha [Black Widow, played by Scarlett Johansson] is very important in this film. And his relationships with Fury [Samuel L. Jackson] and The Falcon [Anthony Mackie] are also important.

How challenging was it to come up with a new design for Captain America’s costume in the film?

Joe: The execution of the costumes is a critical and key component for us in the movies. It’s based on our style and our tone and what we like. Again, with everything based in realism, we wanted the costume to be Kevlar-based. We wanted to make sure that the costume had a very functional purpose. That way, when he wears it and you look at him in it, you say “Oh, that’s to stop bullets. I understand.”

Would you say that the costume is as true-to-life as possible?

Joe: Captain America is a stealth operative for S.H.I.E.L.D in this movie, which is another factor that pointed us in a direction for the design of the costume. If the character is working in darkness and in clandestine operations, he can’t wear a target on his chest. He needs to move around in the shadows. We drew upon the more recent versions of the outfit from the comics.       

How did your knowledge of comic books inform your directing style?

Anthony: It was most important in terms of the approach to the character and in terms of the version of Captain America we wanted to show in the movie. We didn’t want to get caught up in the boy-scout version; we really wanted to butch up the character. We wanted to bring him into the modern day and make him a man’s man that we could relate to. His virtues are like Rocky Balboa’s in the sense that he has a very simple goal and very fixed virtues. However, he’s unbreakable too, and that’s what is fun about him. In this movie, it was our job to think, ‘Ok, how are we going to break him?’ That’s very much how we approached the film.

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Review: "14 Blades" is Martial Arts with Western and Persian Stylings

TRASH IN MY EYE No. 41 (of 2014) by Leroy Douresseaux

14 Blades (2010)
Jin yi wei – original Chinese title
COUNTRY OF ORIGIN:  Hong Kong/China; Language:  Mandarin Chinese
Running time:  113 minutes (1 hour, 53 minutes)
Rating:  MPAA – R for violence and bloody images
DIRECTOR:  Daniel Lee
WRITERS:  Daniel Lee, Kwong Man Wai, Tin Shu Mak, and Ho Leung Lau; from a story by Daniel Lee and Siu Cheung Chan
PRODUCERS:  Xiang Dong, Zhang He-Yun, Zhang Hong, Si Jian-Jun, Zhao Ping, Xu Ping-An, Wang Qi-Shun, Yi'an Sun, Susanna Tsang, Tianyun Wang, and Cui Xiao-Wen
CINEMATOGRAPHER:  Cheung Tung Leung
EDITORS:  Ka Fai Cheung and Man To Tang
COMPOSER:  Henry Lai

MARTIAL ARTS/DRAMA/HISTORICAL

Starring:  Donnie Yen, Wei Zhao, Chun Wu, Kate Tsui, Yuwu Qi, Ma Wu, Kar-Ying Law, Xiang Dong Xu, Chen Zhi Hui, Sammo Hung, and Loi Kwan Kam

14 Blades is a 2010 martial arts (wuxia) and historical drama from director Daniel Lee.  The film, a co-production of China and Hong Kong, received a limited theatrical release in August 2014 after making a film festival appearance in 2011.  14 Blades focuses on an imperial secret agent who is hunted while he tries to stop a conspiracy against the Emperor.

14 Blades opens in China during the late Ming dynasty (a period taking place from 1368 to 1644).  It is a time when the imperial court is plagued by corruption, and the young emperor is incompetent and seems more interested in pleasure than in governing.  He is protected by the Jinyiwei (the Brocade Guard), a secret police force and clandestine royal guard.  They ensure peace and stability and have the authority to execute almost anyone.  Their leader is called Qinglong (Donnie Yen), and he carries with him the Fourteen Blades, a box containing 14 different steel blades with which he executes his duties... and people.

Far from the imperial Forbidden City, the Emperor's uncle, Prince Quing (Sammo Hung), hatches a conspiracy with the traitorous royal eunuch, Jia Jingzhong (Kar-Ying Law).  Their plot involves taking control of the Jinyiwei and betraying Qinglong.  They succeed, and Qinglong soon finds himself wounded, hunted, and on the run.  He finds shelter with Boss Yong Qiao (Ma Wu) and his men in the Justice Escort Agency.  Boss' daughter, Hua Qiao (Wei Zhao), becomes attracted to Qinglong and is determined to assist him in his fight to protect the Emperor and the country from chaos and destruction.

My summary of 14 Blades does not do this epic film justice.  There are enough supporting characters with their own causes and motivations to turn 14 Blades into a television miniseries.  However, the film's core, Qinglong, remains strong, and when the beautiful Hua is added, 14 Blades suddenly has heart, an emotional center to go with the lust for revenge and the film's blistering marital artist action.

Donnie Yen and Wei Zhao give heartfelt, deeply emotional, thoughtful, and strong performances.  They make everything about their respective characters:  external conflicts, internal struggles, motivations, ideals, wants, and love seem genuine and honest.  They are believable and likeable; they draw the viewer to this film.  In fact, like a superstar athlete does for his teammates, Yen and Zhao make their fellow actors betters.  Their characters make the other characters even more interesting and engaging.  I would love to see these two actors in another movie similar to 14 Blades or in a romantic drama.

14 Blades is obviously a martial arts film, but the film also has suggestions of an Ancient Persian romance and an American Western film.  The former comes through in some of the locales, in the costumes, and in certain musical strains in Henry Lai's score.  The latter is also suggested by some of the settings, but also by the staging of some scenes and sequences and in the poses and attitudes of both heroes and villains.  Most notable is the Clint Eastwood-like pose and attitude that Donnie Yen frequently strikes.

That makes 14 Blades something different, even if the story occasionally becomes a bit muddled.  Still, its colorful characters and lavish costumes; to say nothing of the flashy fight choreography makes this movie thoroughly enjoyable.  With its attractive lead couple, 14 Blades, while different enough to stand out from other marital arts films, tells a familiar story of love and bravery that will captivate audiences.

7 of 10
B+

Saturday, September 6, 2014


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