Jessica Biel recalling that she co-starred in “Blade: Trinity.”
There are some photos from Guillermo Del Toro’s “Pacific Rim” over at Superherohype, though they don’t show anything of any real interest–by which I mean giant robots–so I am not too interested.
So, until something worthwhile from the ‘Rim’ pops up, here’s the trailer for Pascal Laugier‘s (He also did “Martyrs,” which I haven’t seen) “The Tall Man.”
Unfortunately, it’s not Angus Scrimm, though like Scrimm, this ‘Tall Man’ also appears up to no good (though I suspect William B. Davis, if only because whenever he turns up in a movie, he’s up to no good).
Nowherelse.fr has a teaser for Iron Man 3 which looks very, very geniune. You don’t see anything other than the ‘Iron Man 3′ logo, but coupled with the accompanying sounds it implies a darkness that the prior films didn’t have.
Nick Fury, the head of S.H.I.E.L.D, the guy on the right (not the Sam Jackson version of the character).
This is so cool. According to Hollywood Reporter Joss Whedon is developing a television based upon S.H.I.E.L.D (Supreme Homeland Intervention, Enforcement and Logistics Division) for ABC. The best thing about this is that a S.H.I.E.L.D series can deal with more traditional threats as well as those of a super-powered nature.
It’s uncertain if Whedon will direct the pilot, but I am sure that he will be involved on some level beyond developing the property.
I am always on the lookout for entertaining movies, though I prefer science fiction, horror, thrillers, and comedies, pretty much in that order.
Though I tend to watch virtually any film that isn’t too amateurish, and not drek like “The Human Centipede” (which may have some redeeming qualities, which I might actually notice if I were able to force myself to sit down and watch it).
With comedies, I tend to be a bit more selective because, let’s be honest, many comedies are comedies in name only. So, imagine my surprise to “discover” “Punching The Clown” on Netflix, the funniest movie I’ve seen in quite a while.
It’s the story of Henry Phillips, a comedian who’s a bit weary of the road, so he moves out to California to live with his brother to ply his craft.
It’s coming to theaters in October, and if it hits The District, I am so there.
“”ParaNorman,” particularly its story, is not as innovative as its animation, though it often uses established tropes in an interesting fashion.”
Chris Butler and Sam Fell‘s “ParaNorman” is an interesting film primarily for two reasons: The first is that it’s made in stop-motion, a painstaking method of animation that involves figures built upon a metal armature, which are moved a small increment at a time, then filmed. When the frames are combined, the motion appears fluid.
While stop-motion animation in and of itself isn’t new, the way the film makers approach it is. They also made extensive use of 3D printing, which enabled them to create hundreds of very individual expressions for the characters, in a minimal amount of time.
Which is a good thing because even with such techniques it took about two-and-a-half years to bring “ParaNorman” to the screen.
It needs to be said that I have never been a huge fan of DC Comics. Despite enjoying the adventures of Green Lantern and Batman when I was younger, I always preferred Marvel overall.
That being said, I don’t want their films to fail because if enough superhero films fail, it threatens all superhero films because studios go where the money is, and if enough comic-based properties fail or underperform, they’ll stop making them.
This is why when I read that Ben Affleck was rumored to be taking on DC’s venerable Justice League, I was a bit worried.
It’s not necessarily that I thought that he wasn’t capable, more than he’s never done anything on that scale before, which could result in a problem of Bergian proportions.
Though that is not to say that such a strategy cannot work. Marvel seems to quite regularly use directors like Kenneth Branagh and Jon Favreau, who prior to Thor and Iron Man 1 & 2, had never done films on such a scale.
Which is why I am comforted by the rumor is that the Wachowskis are being considered. This makes sense because they have proven that they not only understand epic film making (Cloud Atlas?) but can handle effects-heavy productions.
Excuse me for a moment.
That’s better. Now that I found a little release, I can ask the question I find myself asking way more often that I would like lately, which is: Why in (insert perferred deity here) name are they remaking David Cronenberg’s “Videodrome?” Cronenberg himself attempted, not nearly as successfully, to revisit similar topics with “eXistenZ.”
Are they going to somehow make it more creepy? More subversive? Are they going to replace the television with the Internet, and call it innovative, despite “Pulse” beating them to the punch? Are they going to make it PG-13, because there’s no way that if it’s even half the film that the original is that it should be rated no less than a hard R.
I am not optimistic. Not at all.
image courtesy of Wikipedia
What happened to Tony Scott was tragic, though suicide generally is.
Whatever one may think about the act, whether or not it’s right, wrong or whatever, concerns me less than the blatantly lurid tendencies that seem to emerge when such things happen to famous people (the non-famous don’t seem to attract as much attention, for some reason).
Numerous bystanders ended up filming Scott as he jumped from the Vincent Thomas Bridge in San Pedro, CA. The filming in and of itself doesn’t bother me because, if I happened to be there, I might have done the same thing if I had a device capable of doing so.
I even understand the urge to sell the footage.
What I don’t understand is why someone would want to watch it. Scott killed himself, though I am not at all sure that the watching the act of him plunging toward the dark, turbulent waters of Los Angeles harbor is going to teach us anything.
And if we can’t learn anything about what caused him to end his life in such a brutal manner by watching it unfold, then we don’t need to watch it at all.
This is an interesting bit of news. According to Vulture, by way of Superherohype, there’s talk of a reboot of Dave Stevens’ ‘Rocketeer,’ which I think is a really cool idea. The original film, directed by Joe Johnston, most recently of “Captain America,” didn’t do too well at the box office, earning almost $47 million on a $35 million dollar budget, but there was an earnestness to it that was refreshing.
Personally, I am not sure why it failed (other than not enough people going to see it, that is). After all, it came out only ten years after “Raiders Of The Lost Ark,” had the same retro vibe, but somehow never managed to find an audience.
Despite the presence of Nazis, gangsters, and Timothy Dalton.
For those of you that don’t remember the original, here’s the trailer.
I spent all last Thursday as an extra on Netflix’s upcoming series, House of Cards (an Americanized version of a British series), and had a great time.
Prior to “House of Cards,” I worked as a policeman on “The Dark Knight Rises” (TDKR).
You would think, since TDKR had a massive budget compared to “House of Cards” that it would have been better in terms of amenities, but strangely enough, it wasn’t (though that may have had something to do with TDKR being filmed on Wall Street, and the massive number of extras used on that particular film).
Both productions, as far as I could tell, treated us well, though I thought that we were especially well-treated by the ‘Cards’ staff.
“House of Cards” (HoC) was budged around $100 million dollars for 26 episodes (which isn’t much when you consider that HBO paid $50 million for the pilot of “Boardwalk Empire” alone ). It didn’t pay that well, though you don’t work as an extra (that’s not a member of SAG–the Screen Actors Guild) for the money.
That being said, the food was plentiful, and quite good, and the waiting area was air-conditioned; which is a very good thing when the temperature is somewhere in the upper Eighties.