Last week, I posted a parody by Frog Island of a meeting of various superheroes, where Hawkman was the butt of ridicule because no studio was willing to make a movie starring him. Personally, I think that Hawkman is a neat character (though his costume does resemble some sort of S&M wear).
Well, according to Comicbookmovie.com, a Hawkman movie is being worked on, though I think that this one is going to be a hard one to interpret because he’s from a futuristic, alien society that for some reason chooses to wield ancient weapons.
First, Keanu Reeves decided not the take a lead role in Warner Brothers’ “Akira,” and now Albert Hughes, one half of the Hughes Brothers producing/directing team, has left the film. Supposedly his leaving the project was amicable, but the project–collapsing in such a fashion–seems a bit unusual. Then there was Warner’s attempt to get other big name actors, partially to justify the huge costs of the project (estimates to be north of $200 million dollars), as well as to attract investors. I have no idea if this project is going forward, though if it is it will not be in its current form. I also admire that it appears that Warner Brothers is at least attempting to salvage this project, unlike Universal, which dropped Guillermo del Toro’s film of H.P. Lovecraft’s “At The Mountains Of Madness“.
“X-Men: First Class” is coming to theaters June 3rd, to commemorate Twentieth-Century Fox is introducing “X-Men EXTRA”, an app that claims to put the viewer “…in the middle of history’s most defining–and top secret–moments.
At the moment it’s available only for iPad.
As charming as it may be, “Midnight in Paris” is not among Allen’s best. Even though it has most of the director’s trademarks (a neurotic, insecure main character; existential angst; infidelity and a touch of magic), it lacks the moral fiber and deep philosophical questioning of his better works.
Gil Pender (Owen Wilson), a successful Hollywood screenwriter is visiting Paris with his fiancée Inez (an effectively insufferable Rachel McAdams) and her wealthy—and equally insufferable—right wing parents. Gil regrets not staying in Paris when he had a chance earlier in his life and sees the trip as an opportunity to start his career as a novelist. However, Inez and her parents’ plans are not conducive to inspiration: all they want to do is shop, eat at fancy restaurants and see the occasional tourist attraction.
That sounds like the opening for a joke, though think about it for a moment: Superheroes probably want a drink sometimes (though not Tony Stark. He has problems knowing when to say “when”, if you know what I mean), so where would they go?
This clip, couresy of Frog Island, answers that burning question. By the way, it is NOT office or child safe. There’s no nudity, but the language can get a bit rough. That being said, it’s also fraggin’ brilliant, with makes up for just about all shortcomings in my book.
The clip is similar in concept to Marvel’s Damage Control comic, which revolved around a company whose job it was to clean up after all those earth-shattering superhero altercations (written by the late Dwayne McDuffie).
‘Mea culpa’ is a Latin word which means: an acknowledgment of one’s fault or error.
I am referring to my attempt to catch “Attack The Block” yesterday; the operative word being “attempt.”
As you can see from the screening pass, the showing was at 1930; I assumed that arriving a half-hour earlier would be enough.
I wasn’t. I had no idea 200 seats could fill quite so quickly.
By the way, don’t forget that it’s Towel Day. Do your part and carry a towel with you wherever you go (I have been doing so at work, and people are oddly nonchalant about about.).
Spookily nonchalant, in fact.
Vin Diesel is discussing with the French press the possibility of a sequel to “The Chronicles of Riddick.” Notice that the interview was recorded two years ago, which gives you an idea how long it takes to get a project, even an established one, off the ground
I am a fan of “Pitch Black,” and while the film is an ensemble piece, Vin Diesel’s performance as Riddick stood out amongst those of some very talented actors, such as David Keith and Wings Hauser. The sequel, “The Chronicles of Riddick” had a significantly different look and played on a scale several times larger than the first film, which perhaps had something to do with its box office fall-off.
In spite of the French cinema vs. Hollywood cinema perception, the truth is that nobody loves American films as much as the French, especially when they come from auteurs—a concept they invented—who moved to Paris at the height of their careers, as Terrence Malick did.
This year’s Palme d’Or, Cannes’ top prize, went to Terrence Malick for “The Tree of Life”. He had won one prior, in 1979, for the convoluted “Days of Heaven”. The film spent two years in post-production, during which Malick and his crew experimented with unconventional editing and voice-over techniques. “Days of Heaven” won the Academy Award for Best Cinematography, but was a monumental flop that almost ruined his career, as well as the studio that produced it, Paramount. Continue reading
Palme d’Or (Golden Palm): ‘The Tree of Life” by Terrence Malick (United States)
Grand Prize: Shared between “The Kid with the Bike” by Jean-Pierre and Luc Dardenne (Belgium) and “Once Upon a Time in Anatolia” by Nuri Bilge Ceylan (Turkey)
Jury Prize: “Poliss” by Maiwenn (France)
Best Director: Nicolas Winding Refn for “Drive” (Denmark)
Best Actor: Jean Dujardin, “The Artist” (France)
Best Actress: Kirsten Dunst, “Melancholia” (film from Denmark, actress from United States)
Best Screenplay: Joseph Cedar, “Footnote” (Israel)
Camera d’Or (first-time director): “Las Acacias” by Pablo Giorgelli (Argentina)
Best Short Film: “Country” by Maryna Vroda (Ukraine)
Un Certain Regard – Special Jury Prize : “Elena” by Andrey Zvyagintsev.
Here’s the trailer for the upcoming kids vs. aliens thriller (think E.T. with a very bad attitude. And teeth) “Attack The Block” from Joe Cornish, a frequent collaborator with Edgar Wright (both of whom worked on the screenplay for the upcoming “The Adventures of Tintin: The Secret of the Unicorn” for Dreamworks, and “Ant-Man”, for Marvel Studios).
“Attack the Block” is being distributed by Screen Gems (a division of Sony) in the United States, though it has already been released in the United Kingdom.
I’ll have a review Thursday, which will be spoiler-free.