Richie Keen’s Fist Fight looks to be pretty funny (and Charlie Day looks pretty short, especially when you consider that Ice Cube can’t be any taller than 5’6, give or take) but it also looks particularly one-note.
And while I haven’t seen the movie, I get the feeling that it’s going to end one of two ways: Ice Cube beats Charlie Day within an inch of his life (possible, though unlikely), or some deus ex machina enables Day to get out from receiving the beating of his life.
What I don’t expect to happen–unless the movie movie is much more clever than I give it credit for–is that Ice Cube somehow gets his arse handed to him by a guy that the trailer establishes as pretty incompetent as far as fighting goes.
And by ‘Sneak Peek’ they mean they aren’t going to show us anything that’s in the least bit interesting.
Though that not quite true. Keep in mind that there was a controversy earlier this year over not only the casting of Scarlett Johannson as a character that in the anime was Japanese, but rumors that producers were intending to make her look Asian.
Seeing her appearance in the Sneak Peek, it’s possible that making her look Japanese is what they were doing, especially when you take into account how her hair’s cut. That being said, it doesn’t appear that her eyes have been altered to mimic epicanthic folds, either digitally or via make-up, though it’s hard to tell definitively.
The worse thing is that the choice of Johansson needn’t have been a controversial one because all they needed to do was the create a new character that happened to be American.
And sure, there would be some people who would complain about that–particularly fans of the anime who tended to be purists–but that discussion would be significantly better, and certainly less strident, than one of whitewashing, which is pretty indefensible.
Visually, Morten Tyldum’s Passengers holds a huge debt to Pixar’s Wall-E, Danny Boyle’s Sunshine and Apple’s design esthetic.
In other words, it’s attractive, but doesn’t appear to strike any new ground.
The same thing can be said of the story, which revolves around two people who accidentally emerge from suspended animation 90 years too (or was it?), and eventually fall in love.
As I said, it’s nothing new.
Though it’s welcome that Jon Spaiths wrote the screenplay (Prometheus–before Damon Lindelhof came in and purged it of direct connections to the Alien movies and Marvel Studios’ upcoming Doctor Strange) so there’s perhaps the hope of a mystery (which is at least hinted at) to balance Lawrence and Pratt looking all starry eyed at each other for over an hour.
I had never heard of Stacy Title’s The Bye Bye Man–or Stacy Title, which doesn’t sound like a real name, for that matter–before yesterday, but it’s a horror movie so it got my attention.
What’s interesting is that it’s from STX Entertainment, who earlier this year released The Boy.
It seems to me that they’re following in the footsteps of Blumhouse Pictures, who are adept at releasing and marketing low-budget horror movies.
It’s a strategy that appears to be working. The Boy–which felt like it was out for no time at all–actually earned just over $64 million worldwide.
Now that’s a not a huge amount of money, relatively speaking, till you take in account that the budget was only $10 million.
That’s a pretty good return for a movie that didn’t exactly kick up a lot of noise at the box office.
I think Mike Flanagan (Oculus, Hush) is quite a talented director. That being said, I find the latest trailer from his upcoming Ouija 2: Origin of Evil in some ways a bit disturbing (and not in the good, creepy, what’s that shadow doing there kind of way).
It’s not that I think that it’s going to be as bad–keep in mind I paid to see the original Ouija, so knowing Flanagan’s bona fides I can’t see it being as horribly ‘meh’ as that– as the movie that it’s a sequel to.
Though what it feels like is that Flanagan is playing in James Wan’s (Saw, Insidious, Dead Silence, The Conjuring, etc) sandbox rather than creating something all his own.
And on some levels that’s not quite fair. Wan doesn’t own period pieces–as Ouija 2: Origin of Evil appears to be–but he has partially built a career on period supernatural movies like The Conjuring, Insidious and their sequels, which are very much products of their times (the 80’s).
Then there’s that most of James Wan’s horror movies are slicker than they have any right to be, and if there’s anything that I hope Mike Flanagan doesn’t learn, it’s that.
The trailer for Rings dropped yesterday, and having just rewatched it a moment ago leaves me with a few questions:
First, wasn’t the whole mystery of Samara solved in The Ring 2 (it’s been awhile since I’ve seen it, but I recall her being set free or something along those lines)?
Now, I understand that I would need to see the new movie to understand how they’re continuing the curse, but on the face it it it doesn’t seem to make sense.
And Second, speaking of the curse, the nature of it seems mighty conditional in that suppose you need to own both a television and a phone.
Which most people do, though I imagine that that would change remarkably fast if you suspected that a ghost were after you that seems to appear via television.
What I hope the movie does is tackle what happens if Samara’s curse goes primetime, and speeds like a virus among a whole bunch of people.
I don’t tend to be a comedy guy–I enjoy them, but don’t tend to go out of my way to catch one–but the trailer for Kelly Fremon’s The Edge of Seventeen really caught my attention.
First off, it apparently recognizes that the best comedy comes from tragedy, so there’s a girl, Nadine Byrd (Hailee Steinfeld), who’s doing her best to navigate the waters of rapidly approaching adulthood.
This journey is made even more perilous by her brother, who’s confident where she’s timorous, popular where she’s a wallflower.
And if that weren’t bad enough, he’s fallen for her best friend.
And there’s Woody Harrelson, a guidance counselor (or favorite teacher. You really can’t tell from the trailer) of Byrd’s who acts, at times, as an unwilling witness to her angst.
And by the way, Tom Cruise, The Edge of Seventeen is a great title for a movie of this type.
‘The Edge of…’ just about anything is a terrible title for a hard sci-fi feature (which doesn’t apply to the Star Trek episode, City on the Edge of Forever because it issued from the always fertile mind of Harlan Ellison).