You’d think an action comedy/drama featuring Sam Jackson and Ryan Reynolds would be a slam dunk, then you’ll catch the trailer for Patrick Hughes‘ The Hitman’s Bodyguard and come to realize that maybe that’s not always so.
I was hoping that at any moment it word turn into a more erudite version of Waltet Hill’s 48 Hrs.
It doesn’t, though that could be because the trailer isn’t very effective. It consists of Reynolds and Jackson playing characters we’ve seen them do before, though typically better.
Michael Bay says that there’re 14 Transformers stories in development (most of which are probably intended to be made into movies) and on hearing the news something shriveled up inside me, like an organ that no longer served a practical purpose.
So, I guess I’m saying Transformers are the cocyxx of the movie ‘body.’
They have bothered me for various reasons. One being that you can tell they take serious money to produce, yet there’s surprisingly little to show for all the effort.
I have yet to see a Transformers movie that in any way resonated with me mentally, or provoked a discussion about anything (other than irritation about never getting the time spent viewing the movie back again).
And I also understand that the Transformers are vehicles–pardon the pun–to sell toys, but do they have to do so so blandly, as if the idea of an engaging story were enough to scare off the people who flock to see the movies to the tune of billions of dollars?
Disney does the same thing–in terms of producing movies with the intention of getting toys based on them on store shelves before whichever holiday season happens to be just around the corner–but their Pixar, Marvel Studios and other divisions typically tell interesting stories as well.
Dean Devlin, director of the troubled (anytime another director comes in to do $15 million worth of reshoots on your movie, it’s safe to assume there are serious problems, no matter how the studio spins it) movie Geostorm, apparently learned more than a little bit about making disaster films from Roland Emmerich, who he worked with (as a producer) on movies like Independence Day, Stargate, The Day After Tomorrow, 2012, among others.
And Geostorm certainly looks lIke something Emmerich would do, which is maybe why it feels a bit derivative and a little bit insane.
While that title is a bit of hyperbole on my part it does capture Ridley Scott’s feeling about the Alien franchise pretty accurately because in 2014 he said that he was done with the Alien.
After all, Prometheus as originally written by Jon Spaiths was chock full of Alien goodness, though rewrites took care of those pesky xenomorphs (unless you count the proto-Alien, known as the Deacon, that appears at the end of the movie).
Flash-forward to early 2017, and Scott’s not only talking about Alien: Covenant, the sequel to Prometheus but that he’s so keen on the creature he was finished with just over two years prior that he’s willing to crank out sequels as long as people are willing to pay to see them.
And that’s an awesome thing because no one has a visual esthetic as keen as as Ridley Scott, though I am curious as to what changed his mind.
Part of me thugs that 20th Century Fox just pulled up with a massive truckload of money and dumped it at his door, but who knows.
Davis Ayer’s Bright is a fascinating movie for numerous reasons. The first being that it was directed by Ayer himself, off the box office success of Suicide Squad. Next is that it was written by Max Landis, son of John Landis and a in-demand writer.
Though what’s most interesting is that it’s being financed to the tune of $90 million by Netflix, and will be seen no where else (as far as I am aware) but there. And while I know that they get their money not from box office receipts, but subscribers $90 is a lot of moolah and as far as I know, their most expensive production to date.
I really, really like this recently released clip from Ridley Scott’s Alien: Covenant because it seems–with good reason–to assume that most viewers are already familiar with the xenomorphs and instead spends its time developing the human characters.
And there’s more character development in the just over four minute scene than in some entire movies, which is pleasing.
And the ‘shout-out’ to Scott’s original–which starts around 2:47–is a lot of fun and pretty cheeky.
Though what’s not so pleasant to me is the appearance of James Franco, that felt a little bit out of place for me.
And I readily admit that I have no particularly valid reason why I feel that way.
Alien: Covenant Red Band Trailer
When I read yesterday that the kibosh had been put on Hellboy III by none other than Guillermo Del Toro himself, I have to admit that I was a bit put out.
And what his account lacks in detail, it more than made up for in finality.
As I said, I was a bit bothered, till I gave it some thought. The first Hellboy premiered in 2004, and like most projects Del Toro tackled, the love he felt for the subject matter saturated every frame.
The sequel, Hellboy II: The Golden Army came four years later, and managed to build on what was introduced in the first movie, while at the same time expanding on the world of the B.P.R.D (the Bureau of Paranormal Research and Defense).
And as usual, it was a beautiful movie. Del Toro was one of the first directors I can recall who used color to saturate a scene and I am confident in saying no one does so with more assurance than he (the Underworld movies attempted a similar technique, but appeared heavy-handed compared to Del Toro’s use of the technique).
So would I like to see another Hellboy movie? Sure, especially since they managed to be unlike anything else produced at the time though as far as I am concerned, Del Toro (in movies) was Hellboy’s heart and soul and if he’s ready to turn the last page of this particular comic, then I am too.