Archive for March, 2010

Short Take: Action-packed and bloody, but also truly thought-provoking

Director: Miguel Sapochnik (debut)

Screenwriters: Eric Garcia (author “The Repossession Mambo”), Garrett Lerner (TV’s House, LAX)

Cast: Jude Law (Sherlock Holmes), Forest Whitaker (The Last King of Scotland), Liev Schreiber (Taking Woodstock), Alice Braga (I Am Legand)

Length: 1h 51m

Synopsis: In perhaps an alternate future, it will be possible to buy replacement organs and body parts for just about any component of the human anatomy. In exchange for these marvels of engineering The Union, the company which manufactures and sells these organs, asks to be paid very handsomely. If the recipient of one of these synthetic organs is unable to make the payments, repo men such as Remy (Jude Law) and Jake (Forest Whitaker) will track you down and cut you open wherever they find you (your home, place of work, the subway, a back street, etc.) and reclaim The Union’s property for a hefty commission. But when an accident occurs that leaves Remy the unwilling recipient of a synthetic heart, his eyes are opened and he finds himself fighting the same system he used to work for. Irony be damned. Read the rest of this entry »

Short Take: Intriguing, but lacks competence in some areas

Director: Udayan Prasad (Opa!, My Son the Fanatic)

Screenwriter: Erin Dignam (8, Loved, Denial)

Cast: William Hurt (The Incredible Hulk, Vantage Point), Maria Bello (The Mummy: Tomb of the Dragon Emperor, The Jane Austen Book Club), Kristen Stewart (Twilight: New Moon, Adventureland), Eddie Redmayne (Elizabeth: The Golden Age, Savage Grace)

Length: 1 hour 42 minutes

Synopsis: Brett Hansen (Hurt) has just been released after six years of incarceration when he meets Gordy (Redmayne), an awkward young Native American on his first trip away from the reservation, and Martine (Stewart), a lonely young woman looking for someone to love her.  The trio embarks on a road trip to find Brett’s ex-wife May (Bello).  As the group grows closer, Brett’s past with May is slowly revealed through a series of flashbacks. Read the rest of this entry »

The Predator is coming back, and he wont be alone

IGN.com recently attended the SXSW Film Festival in Austin, TX where writer/director/producer Robert Rodriguez gathered a small audience to show teaser material for the upcoming July release Predators.

Directed by Nimrod Antal, who accompanied Rodriguez at the event, the teaser material included a first edition trailer and a couple clips from the film. Aside from the presentations, though, the two also discussed some fun facts about the project, which include:

• The first Predator will be referenced as sort of ghost story
• There will be no CGI Predators – all FX regarding them are practical
• 20^th Century Fox supports the violence being to the hilt, based on sales of unrated DVDs
• Rodriguez and Antal have plans to make more Predator movies if this one is successful

Also, the story behind how this new Predators project came to fruition is explained (it has apparently been about 15 years in the making). For those anticipating the film, we recommend taking a look at all of what IGN found out (don’t worry, there is nothing really spoilerish).

View the whole article here.

Also…

Danny Trejo in the original "Machete" trailer

Check out IGN’s quick preview of Machete, set to release late this year. Based on the fake trailer made for Rodriguez and Quentin Tarantino’s Grindhouse, the film brings back all main actors from the trailer, which includes Danny Trejo, Cheech Marin, and Jeff Fahey. Some other actors brought on board for the project include Robert De Niro, Jessica Alba, Lindsay Lohan, Michelle Rodriguez, Steven Seagal, and Don Johnson. It is directed by Robert Rodriguez and Ethan Maniquis.

Star of the film Danny Trejo had this to say – “It is going to be awesome,” Trejo promises. “We duplicate scenes from the trailer in the movie. What that movie has is the three B’s, what I like to call the three B’s. And what that is is babes, bullets, and blood. And then it’s got machetes, too. The film takes off from the trailer and then it just gets so over the top. I think the movie really lives up to the trailer. I’m really, really proud of it.” – IGN.com

Read more here.

Are rebellious teenage girls like Jenny (Carey Mulligan) part of an on-screen trend? If so, what's behind that trend?

Between last October and now there have been several high-profile movies released that touch upon the subject of teenage girls trying to fight to avoid their planned futures – or to be more accurate, their futures which others have planned for them. Some examples of these movies are An Education, Whip It, and the recently released Alice in Wonderland.

Jenny (Carey Mulligan), the lead girl in An Education, sees herself as different from the other girls in her high school class, perhaps in terms of maturity, worldliness, intelligence, or simply personal goals. Unlike the other girls in her class she, like so many teenagers, begins to show contempt for the scholastic system within which she sits. Told to be ladylike and that her education is of the utmost importance, Jenny tires of hearing how the only way to success is through the strictly mapped pathway that the education system provides. As a result she rebels against structure and experiments with uncertainty. Likewise, Alice (Mia Wasikowska) is trying to avoid a marriage that both her mother and society have set up for her, either ignorant or indifferent to the fact that she has no romantic feelings for her suitor. The sole rationale behind the union is that she is both young and attractive and her fiancé-to-be is financially comfortable. But worse, Alice is expected to bear the young man’s children so as to fulfill her social role as a woman. Naturally, when she finds herself falling down the rabbit hole and trapped again within the world of Wonderland, she’s not very eager to get home.

Both of these films touch on the same subject occurring at different time periods (Jenny the 1960s, Alice the Victorian era – both in England), which is the illumination of the social role of young women and their rebellion against that role. The question becomes: why do these movies – released within months of each other – ask for our interest in this matter? Is it that the issue is so inescapably attributed to our conception of the average teenager? Moreover, is the issue so inescapably attributed to our conception of the average teenage girl? Bliss (Ellen Page), the main protagonist in Drew Barrymore’s Whip It, is forced to deal with wanting a different future than what her mother has planned for her (roller derby vs. beauty pageants). It would appear that the society within which Bliss resides is not pressuring her to fulfill any kind of specific social role, but she nevertheless feels naturally compelled to resist being led on any path that she herself has not devised. If these representations of teenage girls, depicted across three different time periods, are indeed intended to be considered authentic and representative of the archetype they illustrate, then one must ask what the relevancy is in bringing these characters to our attention at this point in time. Read the rest of this entry »

Jude Law and Forest Whitaker in the violent dark comedy/thriller "Repo Men"

ShockTillYouDrop.com has recently published an interview with the director of the upcoming sci-fi thriller Repo Men, Miguel Sapochnik.

The movie itself takes place in the future and is about a company that sells artificial organs at absurdly high prices. If a recipient of one of these organs ends up not being able to make the payments, though, said organ gets repossessed by Repo Men like Remy (Jude Law) and Jake (Forest Whitaker). Through an accident, Remy becomes an unwilling recipient of one of these high-priced organs and, because he can’t pay, gets pursued by the same men he used to work with.

The interview goes into a lot of detail about how the film came to fruition, from when the idea came about through Eric Garcia’s novel “The Repossession Mambo” to when Sapochnik was shopping the script around Hollywood trying to get financing. The director clearly recognizes that the tone of the material and subject matter are very much against the grain, but says that these factors are what drew him towards the project. With this being Sapochnik’s first feature film (his background is comprised of shorts), it would be an understatement to say that this was a learning experience.

Sapochnik claims that he got much of his inspiration for the movie from the British comedy group Monty Python, who often mixed violence with humor. “I love the humor of Monty Python. I always remember being so impressed by how violent Monty Python are actually when you look at what they do. Terry Gilliam has a great way of kind of proposing violence. Even Terry Jones in “The Search for the Holy Grail” when he’s kinda cutting the guy up into pieces and he’s saying, ‘You know, it’s just a flesh wound.’ They were very violent movies, but there’s humor in that violence and there’s irony in it.”

For those looking forward to the film or just interested in getting to know exactly what it’s about, this interview should prove to be both entertaining and informative.

Repo Men opens Friday, March 19th.

Director Robert Zemeckis, head of motion-capture animation company ImageMovers, has an uncertain relationship with Disney

ImageMovers, the motion-capture effects studio headed by Robert Zemeckis, is being dropped by Disney. The “shingle” is known for producing computer animated movies such as Monster House, Beowulf, as well as the recent Jim Carrey vehicle A Christmas Carol, which was produced by Disney. The Mouse House has only financed the last of those three, and began production of a remake of Yellow Submarine, but appears to consider such financial commitments as too costly with the current market. A Christmas Carol, directed by Zemeckis, had a budget of around $200 million but had a domestic gross of only $137 million (the film totaled $323 million all in all).

“Bob [Zemeckis] and the entire [ImageMovers] team successfully built a state-of-the-art studio and produced an amazing film, A Christmas Carol, at a time when the dynamics of the industry are rapidly changing,” Disney Studios president Alan Bergman said in a statement. “But, given today’s economic realities, we need to find alternative ways to bring creative content to audiences, and [ImageMovers] no longer fits into our business model.” – Hollywood Reporter

Disney does not want to lose Zemeckis and his team, however, more or less saying that they want to keep such high-quality talent in house so they can continue to work on Yellow Submarine. As late as Friday, however, there has been no reported deal.

Source: Hollywood Reporter

Quick Opinion: As disappointing as the news is, it doesn’t come as too big of a shock. Financially speaking from Disney’s standpoint, it makes a lot of sense. For not only does a motion-capture film like A Christmas Carol cost a lot of money, but a lot of time as well. And being that any studio usually limits itself to financing so many projects at any one time, money used to produce such a supposedly fiscally unrewarding project as a motion-capture animated one might keep Disney from financing a project that would deliver better returns. So why would Disney continue production for Yellow Submarine? Well, the project is fully into pre-production, as it is already cast, has a workable script, and the FX team is no doubt already deep in focus to provide the film’s animation and 3-D effects. In other words, they’ve sunk too much money into the film to just scrap it at this juncture.

2009's "Watchmen" made only a few million more than its budget. Is its "R" rating partially to blame?

In an article for Variety.com columnist Tatiana Siegel reports how lately Hollywood has been growing more and more averse to having their films stamped with an “R” rating. The topic gets introduced with the upcoming Clash of the Titans remake, which if you’ve seen the trailer or any commercials you’ll understand is supposed to have its fair share of violence.

Basically, the rule of thumb has been growing more and more into the overall standard. The bigger the budget, the less likely a studio will accept an “R” rating. The logic is of course that PG-13 ratings draw the widest audiences, which means the highest possible returns. Small budget films receive more slack (such as selective horror projects), but studios even insist that they shoot for PG-13 if possible (ex., Prom Night (2008)).

Some requirements are easy to satisfy. For instance, to avoid an “R” rating a film can only show violence against monsters or limited violence against people. If there is blood it must be limited, and if not it must be a different color than red – typically black. And of course, foul language must be kept to a minimum (the F word can only be uttered once).

Studios are more weary of releasing “R” rated pics lately because they’re failing to bring in big returns. Two recent examples are Watchmen and The Wolfman. Both cost over $100 million to produce but failed to make back their budgets with domestic grosses (Wolfman only managed to make back $61 million domestically, and even its worldwide B.O. failed to make it break even).

Screenwriters have stopped writing scripts that are intended to be “R” rated because studios are refusing to pick them up. However there are people within the industry who are willing to be more cavalier with raunchy material. Director/Producer Todd Phillips (The Hangover) supposedly told writer Phil Hay regarding the topic, “Write [the script] the best it can be. And we’ll figure it out later.” – Variety

What is your opinion on the “R” and/or “PG-13″ ratings? As a moviegoer, do you care about what the rating is of the movie you want to see? Do ratings affect which movies you see? What if a film is rated “R” but proves satisfying and entertaining enough to justify its ticket price?

Tell us what you have to say!

Quick Opinion: The movies mentioned by Siegel (The Wolfman, Watchmen, Prom Night) may not be the best examples to list on this topic. Based on reviews and audience reactions, as well as talks with friends, both The Wolfman and Watchmen‘s lack of success is not due to their being “R” rated. People seem to agree that The Wolfman‘s plot was too generic and its characters too flat, and seemed undecided about whether it wanted to be new or nostalgic. Fans of the Watchmen comics conceded that there was too much story to pack into a single film, which made the screen adaptation feel overstuffed and lack concentration. The remake of Prom Night suffered from arguably too little violence, and might have actually made more money had it shared the same “R” rating as its original. Because of how popular the horror genre is with teenagers, though, business logic tells you that you don’t make a product for a particular audience and then make it inaccessible to them (remember the No Admittance Under 17 “rule”). However, sometimes I think that studios who make horror films fail to recognize that there are plenty of horror fans over the age of 17 as well (in fact most of them). All in all, I’m convinced that it’s not the “R” ratings on certain films that are the issue, but the overall poor quality of those films and their inability to satisfy their audiences.

Short Take: The quality of the performances alone make the film worth viewing

Director: Floria Sigismondi (Début)

Screenwriter: Floria Sigismondi (Début)

Cast: Dakota Fanning (Twilight Saga: New Moon, Push), Kristen Stewart (Twilight Saga: New Moon, Adventureland), Michael Shannon (Revolutionary Road; My Son, My Son, What Have Ye Done)

Length: 1 hour 45 minutes

Synopsis: The film details the rise and fall of the first major female rock band, The Runaways, mainly through the eyes of the band’s lead singer, Cherie Currie (Fanning).  The band forms in the mid 1970s when a determined young Joan Jett (Stewart) befriends a Svengali-like music producer Kim Fowley (Shannon).  After discovering Cherie in a nightclub, they cultivate the band’s rough, energetic sound.  They travel around the country doing small shows and when the band finally takes off, the girls, still in their teens, struggle to cope with their life of sex, drugs and rock ‘n’ roll. Read the rest of this entry »

Short Take: Action-packed and smart, but perhaps too slanted

Director: Paul Greengrass (Bourne Supremacy, Bourne Ultimatum)

Screenwriter: Brian Helgeland (Mystic River, L.A. Confidential)

Cast: Matt Damon (The Informant!, Bourne series), Brendan Gleeson (In Bruges), Greg Kinnear (Flash of Genius)

Length: 1h 55m

Synopsis: The setting is Baghdad, Iraq, 2003. U.S. Chief warrant officer Roy Miller (Damon) is directly involved with the American takeover of Iraq by leading squads of men into hostile sites where weapons of mass destruction (WMD) are suspected of being kept and/or manufactured. After coming up short several times in a row, Miller begins to seriously question the intelligence that he and his men are receiving. Instructed to basically shut up and do his job, he instead takes advantage of when an Iraqi local offers him a tip about a meeting of high-ranking Iraq military officials by acting on the information first and relaying it later. Doing this gets him involved in a world of intelligence politics that he was not ready for, and that he may not be able to escape unharmed. Read the rest of this entry »

Walt Disney Productions has released a teaser trailer for their film Tron Legacy, scheduled to be released into theaters December 17th.

Click here to see it.

“Sam Flynn, the tech-savvy 27-year-old son of Kevin Flynn, looks into his father’s disappearance and finds himself pulled into the same world of fierce programs and gladiatorial games where his father has been living for 25 years. Along with Kevin’s loyal confidant, father and son embark on a life-and-death journey across a visually-stunning cyber universe that has become far more advanced and exceedingly dangerous.” – IMDb.com

The film will be released in 3-D as well as 2-D.