‘Jurassic World’ Teaser Trailer

James Gunn, the director of Guardians Of The Galaxy, has some interesting words for studios that create cinematic universes based on weak properties, and it’s worth reading.  I mention it because Jurassic Park has spawned two sequels, Jurassic Park: The Lost World and Jurassic Park III so perhaps the time has arrived for a relaunch of the property.  Besides, Universal–the studio releasing Jurassic World–is unlike most other studios in that they don’t have much in the way of tentpoles like Disney and Sony, so they have to do the best with the properties they have.

Chris Pratt–also from Guardians Of The Galaxy–is playing the lead, so can we expect to see at least one dance-off between him and an dinosaur?

One can only hope.

‘Peanuts’ And ‘Popeye’ Trailers

Peanuts, based on the beloved cartoons by Charles Schulz, has been beautifully rendered in CGI, though looking at the trailer, I honestly can’t see a pressing reason why (other than virtually all American animation has gone the way of the computer). The characters themselves were never terribly distinctive–visually speaking–as cartoons, so it’s no surprise their CGI versions aren’t either.

Apparently they’re rendered so faithfully to the cartoons that it makes me wonder why they didn’t stick with that format in the first place.

While Popeye works better in CGI because the cartoon itself was always a bit odd and surreal, and if the test trailer is any indication, that weirdness has transferred over to the movie relatively intact.

‘Prometheus:’ Neither Fish, Fowl Or ‘Alien’

What I referring to is in interviews how Ridley Scott often says that he feels as if he’s taken the Aliens as far as he’s able–keeping in mind that Prometheus as originally written was firmly entrenched in the Alien universe, till Damon Lindelof joined the project and excised most of those elements from Jon Spaiths’ screenplay–yet he keeps throwing in ideas peripherally related to Alien, though not nearly enough to satisfy fans of those movies.

And while I hate to sound to sound cynical, it feels to me that he knows damn well that fans of the Alien franchise–hungry for new material–will see just about anything that has xenomorphs in it.

And I get that “Alien fatigue” may have set in and that Scott feels as if he’s taken the property as far as he possibly could.  That being the case, why not leave it alone and let someone else handle it; though admittedly the Alien sequels done by other directors have been uneven at best, with Aliens being the most watchable and Alien Vs. Predator: Requiem the least.

And while I wouldn’t call myself a fan of either Requiem or to a lesser extent, Alien: Resurrection, I’d rather see the movies embrace the material wholeheartedly and unashamedly, as opposed to the tentative way that Scott seemed to approach Prometheus, and how I am reasonably sure he’ll approach Paradise, its sequel, as well.

Though what’s really odd is that Ridley Scott intends to include Aliens in Paradise at all, which bothers me because, while Prometheus is a gorgeous to look at–it winds up being neither fish nor fowl.

Or maybe I am irritated over Vickers running in a straight line when the Juggernaut happened to roll in her direction.  Or how the pseudo-Facehugger not only survived decontamination in the Med-Pod, but somehow thrived.  Or…since showing is always preferred to telling, why don’t I just let CinemaSins give you a guided tour.

‘Late Phases’ Trailer

I know that this is going to sound odd, but I have a pressing need for Adrián García Bogliano‘s Late Phases to be a entertaining, well-done horror film, of the werewolf sub-genre.  For a start, I have seen Bogliano’s Here Comes The Devil, and it’s pretty mediocre.  I haven’t yet seen Cold Sweat–it’s currently on #Netflix, though for whatever reason I have had a only passing interest.

Late Phases has been getting quite a bit of good buzz, so that’s at least reassuring–then again, so did Here Comes The Devil, so I guess that I shouldn’t get my hopes up too much.

More recently, I have seen Annabelle and Ouija, neither of which meets my strict definition of what a horror film could–or should–be (which is that the film doesn’t necessarily have to be overtly gory, or even violent–though it helps–but it does have to be suspenseful, create a sense of tangible unease and/or discomfort, and make the viewer uneasy and perhaps most importantly, get the blood racing, pardon the pun).

Late Phases stars Ethan Embry–an uber-talented and extremely under-rated actor if there ever was one–and Nick Dimici (Stakeland) which makes me want to see it even more.

‘Dragon Age: Inquisition – The Breach’ Trailer

I’ve played the original Dragon Age, if I recall, for less than a half hour before I lost interest.  That’s more a commentary on me being really fickle more than anything else.

In other words, it doesn’t take much for me to lose interest in something.

For instance, if the control scheme is a bit unusual and takes adjusting to, then–more often than not–I’m done.

Hell, remember Defender?

I enjoyed watching people play it but never bothered myself.  Why?  Too many damn buttons to keep track of; not exactly what I would call intuitive.

That being said, I don’t recall Dragon Age looking anything like the animatic above, which implies that the gameplay may have changed from what I remember.

And while the Breach, where the monsters came from in Pacific Rim is an idea that I don’t think can be copyrighted, though it strikes me as sort of odd that the makers of the game–if the trailer is to believed–essentially took the concept, and just moved it to the sky, as opposed to the bottom of the ocean.

And they even call it the same thing.

Reasons For And Where A Potential Tron: Legacy Sequel Could Begin

Tron: Legacy movie poster

 

  • Demand

I am still reasonably sure that there will be a sequel to the 2010 Joseph Kosinski film, Tron: Legacy.  The original earned over $400 million worldwide, on a budget of $170 million.  When you take into account promotional costs–which I don’t have access to, but I’ll add on another $100 million, which sounds fair–then Tron: Legacy actually wasn’t that profitable, if at all.

But you have to also keep in mind that it earned over $400 million, which shows is that there’s definitely interest in the property, and demand for a potential sequel, with the caveat being if Disney can build on that demand.

  • Disney Has Few Homegrown Options of Its Own

Disney, as a movie studio, is in a pretty unique position.  There’s their Marvel Studios arm, which produced the recent box office hit, Guardians Of The Galaxy, as well as the upcoming The Avengers: Age Of Ultron, Ant-Man, and many others.

Then there’s Pixar, which creates cutting edge CGI features that manage to be extremely profitable, which isn’t easy to do (if you think so, take a look at DreamWorks SKG’s releases sometime, which if it weren’t for the success of How To Train Your Dragon 2, would be bleak).

And there’s also Disney Animation, which ever since John Lassiter, the head of Pixar, began running things, has become a hit-making machine with movies like  Wreck-It-RalphFrozen and most recently Big Hero 6 which has managed, domestically, to outgross Christopher Nolan’s Interstellar.

And I haven’t even gotten into Lucasfilm, which has the potential to be massive with the new Star Wars films they have in the pipeline.

So what becomes of Disney?  Are they a holding company for their more successful branches, or can they produce unique content of their own (Maleficent‘s success to this day is something of a mystery to me, as in I don’t see, considering how relatively niche the movie is in some ways, how it did as well as it did)?

I think that they can, and a sequel to Tron: Legacy would be a great way to show it.

Now on to where the story of Tron can go.

There’s a moment during Joseph Kosinski’s Tron: Legacy that could have defined the entire series, though it’s a relatively small (and unfortunately wasn’t built upon) and easy to miss if you weren’t paying attention.  When Quorra (Olivia Wilde) takes Sam (Garrett Hedlund) to see his father, Kevin (Jeff Bridges).  Kevin exlains that he brought in Tron, and created Clu to keep an eye on things when he couldn’t be on the Grid.

Flynn eventually uttered this line:  “It was a coup.  Clu had been corrupted.”

This is an important line because it leads to the most seminal event in the entire movie, which is Clu overthrowing Kevin and taking control, and if there’s a sequel it’s the perfect point for it to begin.

Because it leads to the question:  How did Clu become corrupted?  If you recall earlier in the movie, you meet Edward Dillinger (Cillian Murphy) who’s a star programmer at Encom.

The point being that Edward Dillinger is the son of Ed Dillinger (David Warner), who in the original movie was Sark though more importantly he’s the creator of the MCP (Master Control Program).

So, going to back to Tron: Legacy, the question of the day is:  How was Clu corrupted?  Let’s, for argument’s sake, say that it wasn’t a random event, but the work of Edward Dillinger!  This means that he’s not only aware of the Grid, but intends to take it over in his father’s name.

And how would he do so?

After corrupting Clu, he would then go about trying to create a new MCP which serves two goals:  It gives him control of the computer world, as well as, potentially, control of Encom.

But most importantly such a direction by Disney completes the journey began in Tron, continued in Tron: Legacy and brings it full circle, and toward what could be a very sastifying conclusion that pleases fans of the original film, its sequel, and others the world over.

And if Disney charts the course I have so carefully mapped, I hope that they also bring back Wendy Carlos, who’s talent, genius and ability defined the original film, and was sorely missed in the sequel.

What’s In A Name?

Gallows HillWhat’s going on with #Netflix and movie titles?

I’ve just finished watching one of the most recent horror movies to turn up on the streaming service, Víctor García‘s The Damned (a decent horror film, though the story treats some pretty outlandish material in a very reverential fashion, when perhaps a more “comedic” approach, in the vein of Sam Raimi’s The Evil Dead, would have suited the material better).

Though the premise of the movie is an interesting one, which revolves around a witch who can’t be killed because doing so would enable her to possess whomever did so, while she kills for pretty much the same reason.  The Damned is also much more entertaining– and with much better cinematography–than another film García helmed, Return To House On Haunted Hill).

While The Damned is a more immediately recognizable, as well as dramatic, title, the house were the story takes place is called Gallows Hill, which also works when you take into account what a ‘gallows‘ actually is.

What’s a bit odd is that if you type inGallows Hillinto the Search box on the Netflix site, The Damned comes upThough if you type The Damned, or just ‘damned,’ it doesn’t, which is a bit confusing.

The Evil WithinThe only other time that I can recall this happening was when watching the movie Mine Games, which was originally titled The Evil Within.

Though what’s a bit weird is that, unlike in the case of The Damned, if you type ‘The Evil Within’ into search on Netflix, nothing comes up, though it works fine if you use Mine Games.

This weirdness around their titles doesn’t distract from enjoying either movie, though it is a bit strange.