14 items from 2013
"I don't know what my calling is, but I want to be here for a bigger reason. I strive to be like the greatest people who have ever lived." –Will Smith
Greetings from the apocalypse! It's a long way to the top if you wanna rock n' roll, but if you're Will Smith's kid it ain't that long. The thoroughly Thetan-free father-son gods among us will be exemplars of human perfection on screen this weekend, but that doesn't mean you have to give them your money. There's plenty to see, do, touch, taste, smell, snort and vomit with the fully stocked weekend of entertainment I have lined up for ya, kiddos.
Friday, May 31
Pow! In Theaters
M. Night Shyamalan hasn't exactly been an audience's best friend for the last, oh, decade or so, which is why the studio wasn't generous in name-dropping him as director of "After Earth." Indeed, »
- Max Evry
Originally setup at Lionsgate with Natalie Portman several years ago, numerous directors and stars were attached and then dropped out including the likes of David O. Russell, Mike White, Scarlett Johansson, Mia Wasikowska and Anne Hathaway.
After months of nothing, the troubled project appears to be back in action with Collins to star and Burr Steers ("17 Again") attached to direct.
Source: THR »
- Garth Franklin
Pride and Prejudice and Zombies is back from the dead. The adaptation of the breakout mashup novel by Seth Grahame-Smith was originally set up at Lionsgate with Natalie Portman attached to star. Then it went through a revolving door of directors including David O. Russell, Mike White, Craig Gillespie, while actresses such as Scarlett Johansson, Mia Wasikowska and Anne Hathaway flirted with starring in it. But the producers -- Portman, Annette Savitch, Richard Kelly and Sean McKittrick -- never lost hope, and like a member of the living dead going after a piece of meat, kept at it and have now attached Lily Collins to star and Burr Steers, the director behind the Zac Efron movies 17 Again and Charlie St. Cloud, to helm the adaptation
- Borys Kit
This weekend, "Pain and Gain" opens nationwide, for both muscle-building juiceheads and those of us who try to make it to yoga a couple of times a week because we want to age gracefully, like Helen Mirren. The true-life story of kidnapping and murder stars Mark Wahlberg and Dwayne "The Rock" Johnson as a pair of criminals who were part of what was known as the Sun Gym gang –- bodybuilders whose criminal activity eventually extended into kidnapping, extortion, and murder. "Pain and Gain" was directed by Michael Bay, the orchestrator of a Hollywood's biggest-budgeted action spectaculars (among them "Armageddon," "Bad Boys," "The Rock," and the three "Transformers" movies), who is, this time, working with a smaller budget and tighter schedule. The question, of course is: Is a modestly sized Bay still as much of a visual extravaganza as an unlimited-budget Bay? Read on for the 10 things you need to »
- Drew Taylor
Aladdin had his magic lamp. An American couple settles for a special kettle in “The Brass Teapot,” a fresh riff on “be careful what you wish for” fables, in which things quickly get out of hand after two young lovers inherit a vessel that rewards them with cash every time they injure themselves. No pain, no gain, as they say, though they’d better look out, as the enchanted teapot corrupted Genghis Khan and Hitler before them. Snapped up by Magnolia out of Toronto, this VOD-led indie should score some extra coin in limited release, but plays just fine on smallscreens.
Though the brass teapot’s elaborate backstory is only barely referenced in the movie, director Ramaa Mosley first developed the idea as a comicbook, which benefits her feature debut by giving the impression that the small-scale episode belongs to a far grander mythology (reinforced by opening credits that place »
- Peter Debruge
If you saw Beth Grant on the street, you'd probably recognize her ... but you might not know from where.
"Frequently, over the years people have thought that they know me," Grant told The Huffington Post in a phone interview. "Every character actor has this story, I'm sure. It goes like this: 'Um, do you play soccer?' 'Did you go to such and such church?' 'I knew you when you were with so and so ... ' Then I go, 'Well, sorry ...' and then they say, 'Wait a minute. Are you an actor?' and I say yes. Then they go, 'Were you in so and so?' I go, 'No, no, no.' Pretty soon you want to go to the car and get your resume and give it to them."
It's clear the public knows Grant's face from her various roles, even if they don't know her name. »
- Chris Harnick
One used to take us for a wild ride down Know Your Role Boulevard and Jabroni Drive before he checked us in at the Smackdown Hotel. The other is cast in Susan Sarandon movies.
One had his own theme music that strangers sang along to as he entered various American arenas. The other pretends to race cars with Vin Diesel.
One frequently knocked out his scantily-clad colleagues by landing on them with his elbow. The other has probably never done that ... at least not in any kind of official capacity.
The following contest is scheduled for one fall — and for one awesome blog post on NextMovie. Now let's do this!
Advantage: A '99 Pedro Martinez 12/6 curve ball to start the proceedings! Dwayne Johnson can tell people at bars that »
- Nick Blake
In the third set of clips from our Future of Film conversation exploring film criticism and social media, Deadspin's Will Leitch and Slate's Dana Stevens name their favorite film critics on Twitter ("I didn't know Richard Kelly was kind of a bro dude!"), and why they would never want enigmatic filmmakers like Terrence Malick to join Twitter. (Above) Below, Dana and Will talk about how social media buzz influences their choice of movies to review. Everyone's a Critic: Film Criticism in the Age of Twitter took place on January 17th, 2013 at the Varick Room at Tribeca Cinemas. Stay tuned for more excerpts from this conversation. Follow Will Leitch and Dana Stevens on Twitter Earlier: Should Film Critics Tweet From Screenings? »
Every year when the Academy Award nominations are revealed there are always bound to be a handful of snubs, its just inevitable. Sometimes a film may pick up a handful of nominations but miss out on a few choice categories (this year’s Best Director pass for Argo’s Ben Affleck is one of the most controversial), or an actor who thinks they are headed for the podium may miss out on their nomination all together (Leonardo DiCaprio nabbing the gold for Django Unchained seemed like a sure thing before January 10th). But sometimes the Academy completely misses the mark and fails to nominate a great film in Any category. How can a group of people who take pride in saying they honor the best in film fail to miss recognizing so many great films?
With the Oscars just a few short weeks away, we have compiled some of the »
- Kyle Hytonen
Unbelievably once upon a time House at the End of the Street was a directorial project for Jonathan Mostow with Richard Kelly writing the screenplay, but this was back in 2003 before both Terminator 3 and Southland Tales. You could argue about what the better choice was in terms of both moving on but it becomes very apparent half way through the film that there was clearly nothing to the material that either hadn’t been done before or hadn’t been derived from about twenty separate sources.
Current Hollywood darling Jennifer Lawrence plays a teenager who moves with her mother to a new quiet neighbourhood from Chicago after a messy divorce. As she learns fairly quickly from the obnoxious neighbours, a house in their street drives prices down due to the fact that a young girl murdered both her parents there and fled the scene into the woods never to be found. »
- Chris Holt
What the hell is Holy Motors (2012, Artificial Eye, 18) all about? Leos Carax's first feature film for more than a decade (following the commercial failure of Pola X) is a breathtakingly barking affair involving chimpanzees, aliens, computer graphics, talking limousines, false noses, Kylie Minogue channelling Jean Seberg and Eva Mendes being kidnapped by a familiar troll named Merde. "It's so weird!" breathes an incidental character ecstatically, and he's not kidding.
At the centre of it all is the mesmerising Denis Lavant, a fiery angel and existential artist who travels from location to location adopting quixotic personas (twisted beggar woman, scarred hitman, dying uncle, angry father) and performing real-life vignettes amid the great circus of screen life. From the earliest chronophotographic images of bodies in motion to virtual sex in mo-cap suits, Carax hurtles helter skelter through an urgent history of cinema, »
- Mark Kermode
This month, our community collectively said goodbye for a while to the flagship Alamo Drafthouse location and home of press screenings, special events, festivals like SXSW and aGLIFF Polari, and the two most dear in my heart: Butt-Numb-a-Thon and Fantastic Fest.
I have countless memories of this place, beginning with my first screening there eight years ago: Robin Williams in The Big White, the first screening of the first Fantastic Fest in 2005. I've likely seen more movies in this cinemaplex than in all the other theaters I've visited in my life combined. Certainly more than I dare attempt to count, though an average of 30 films each year for Fantastic Fest plus the five 24-hour Butt-Numb-a-Thons would equal roughly 600 hours, or 25 solid days of films watched there before we even started on SXSW, aGLIFF or any of the other shows.
No single word or phrase is sufficient to capture the significance of this place. »
- Mike Saulters
Because, looking forward, 2013 promises to be such a fruitful cornucopia of cinema, we were excited to be able to easily list an additional 100 titles we are eagerly looking forward to catching in the new year. From these 200-101 titles, we’re happy to list several projects featuring the extremely busy Isabelle Huppert, include two English language projects, Ned Benson’s split film project The Disappearance of Eleanor Rigby His/Hers and the Niels Arden Oplev film, Dead Man Down (and don’t forget her French projects, a starring turn in Serge Bozon’s followup, Tip Top as well as Guillaume Nicloux’s The Religious).
Additionally, the horror genre should be extremely noteworthy in the coming year, with new projects from Neil Marshall (The Descent), Alexandre Aja (High Tension), Fabrice Du Welz (Calvaire), Lucky McKee (May) and directing team Alexandre Bustillo & Julien Maury (Inside). We’ve got two Australian beauties playing »
- Nicholas Bell
Our daily countdown of the 300 Greatest Films Ever Made continues. This is the fourth of 30, and it covers numbers 270-261.
269) Lilies Of The Fields (1963) Ralph Nelson USA
266) Crash (2005) Paul Haggis USA
261) Solaris (1972) Andrei Tarkovsky Russian
film cultureClassicslist300 »
- firstname.lastname@example.org (Rob Young)
14 items from 2013
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