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Thanks to an erroneous posting over on IMDb, moviegoers around the world assumed that Ridley Scott’s upcoming sword and sandals epic, Exodus: Gods and Kings, had an appropriately massive run time to match, with the page pegging the film’s length at an eye-watering, bum-numbing three hours and twenty minutes.
However, 20th Century Fox took to the movie’s official Twitter account and verified the correct length of Scott’s biblical motion picture, stating that the film will run for a much more reasonable two hours and twenty minutes.
— Exodus (@ExodusMovie) October 21, 2014
Well, we say correct when it should be not-quite-finalized; after all, there’s every chance that the final cut of Exodus: Gods and Kings could dip below or indeed balloon past that aforementioned run time »
- Michael Briers
Following episode five of this series of Later comes episode six featuring up-and-coming beat combo U2
As I said earlier, Bono did seem like someone trying to make a point which I guess is what you should be doing if youre in the self-appointed biggest band in the world.
I think Bono proved a point there. Not that he should have to really... #LaterJools
Oh is that it? I was so intent on finding some amusing tweets that I didnt realise it was finished. Well, that was a solid 7/10 wasnt it. U2 were slightly better than expected, Sam Smith was solid, Interpol were a bit dull, Zola Jesus did some dancing, the Alvin brothers gave Jools something to do and Slaves were brilliantly unhinged. Not bad for half an hours worth of your license fee.
This new U2 stuff sounds good. When's it out? »
- Michael Cragg
Sean Bean has just been cast in Ridley Scott’s latest film, The Martian. He joins an already awesome cast which includes Matt Damon, Jessica Chastain, Kate Mara, Jeff Daniels, Michael Pena, and Kristin Wiig. Based on an e-book by author Andy Weir, which was published in 2012 and then published in paperback this year, the film will follow the first man on Mars. Bean will play the Nasa flight director.
Of course, all us Bean fans are wondering how the man of many deaths will meet his maker. Research shows that Bean’s film’s box office correlates directly with whether or not he dies, and the more gruesome his death, the higher the box office (*statistics yet to be verified by anybody of any importance). So how will Bean die in this latest offering from the Prometheus and Blade Runner director?
Well, it sounds as though Bean will remain on Earth, »
- Luke Ryan Baldock
Blu-ray Release Date: Dec. 9, 2014
Price: Blu-ray $27.99
Studio: 20th Century Fox Home Entertainment
Father James (Gleeson) is a good priest who feels sinister forces closing in after being threatened by a mysterious parishioner. As he continues to comfort the troubled members of his community, including his own fragile daughter (Kelly Reilly, Flight), Father James begins to wonder if he will have the courage to face his own personal Calvary.
Also starring Chris O’Dowd (Frankie Go Boom), Aiden Gillen (TV’s Game of Thrones) and M Emmet Walsh (Blade Runner), the R-rated British film was well-liked by the critics, earning an impressive 7.6/10 rating at Rotten Tomatoes based on 143 reviews. It rang up a not-bad $3.6 million at the domestic box office during its limited release to theaters in August, »
PS3, PS4, Xbox 360, Xbox One
It has been over a month since the release of Destiny and much has changed since Bungie’s latest released. Several events have come and gone, particular weapons have risen to fame and faded into oblivion, and the Crucible has been tailored and balanced several times over. Now seems as ideal a time as ever to reevaluate the new title from the developers of Halo.
In the month that I’ve spent with the game, one thing holds true; Destiny is massive. The initial play through of the campaign and the journey to level twenty is a straightforward one. In about the same time it takes to complete the story I both reached level twenty with my first character and soon after fully upgraded my first subclass, the Warlock’s Voidwalker class. Several things changed at this point. The first thing is »
- Tim Maison
This week, X Factor introduced its contestants to the 1980s and then eliminated two of them. Heres the whole weekend as it happened, with Stuart Heritage.
And that really is it. Four down, twelve to go. So, as we say goodbye to Stephanie and Chloe, let me quickly just thank you for coming along and making me miss the first 15 minutes of Homeland because Ive got to read all your comments now.
The liveblog returns next Saturday, for X Factors Songs From The Movies night, where the contestants are almost guaranteed to sing a selection of songs from plays and TV shows and adverts but not from actual films. If this deluge of gibberish inexplicably isnt enough for you, follow me on Twitter (Im @StuHeritage). If it is, though, then who could possibly blame you? See you next week!
In her best bits package, Chloe Jasmine »
- Stuart Heritage
We’re back with another edition of the Indie Spotlight, highlighting recent independent horror news sent our way. Today’s feature includes new details on Found Footage 3D and Mania, photos from Refuge and a poster from Fetish Factory, release dates announced for Skypemare, Soulmate, and The Inside, a trailer for When Black Birds Fly and Zombie Hood, and more:
New Details on Found Footage 3D: “…the producers of upcoming horror film Found Footage 3D announced the launch of their Indiegogo campaign to obtain additional funding for post-production and marketing expenses.
Produced by Kim Henkel, co-creator of The Texas Chain Saw Massacre, Found Footage 3D tells the story of a group of filmmakers who set out to make “the first 3D found-footage horror film,” but find themselves in a found-footage horror film when the evil entity from their movie escapes into their behind-the-scenes footage.
“What Scream did for slasher films, »
- Tamika Jones
In the gritty, sexy and scary old school tradition of exploitation and grindhouse art comes the kick-ass poster for Blanc/Biehn Productions' latest fright flick, Fetish Factory.
Bbp commissioned Los Angeles based artist Aaron Kai to come up with a throwback concept and create artwork that would tell a story - using scenes from the film and building intrigue through visuals just like they did back in the 60s and 70s.
Aaron Kai's meticulously executed, photorealistic film-inspired artwork has been featured globally  from Hollywood to Tokyo to commemorate high-profile landmark events including Blade Runner: The Final Cut 25™ Anniversary, The Bette Davis Centennial, and the Jules Verne Film Festival. Prominent collectors of Kai's original works include Ridley Scott, Harrison Ford, and Clint Eastwood.
The playlist to tonight’s column? Revocation‘s new brutal thrash metal masterpiece “Deathless.” Landing right smack in the middle of October, I have to mention how much energy this record instills in me. The thing about “Deathless” is that it marks an absolute highwater mark for Revocation, nailing the insanely technical flair they were previously known for while stepping up the songwriting a full notch, producing some of their most intense, melodic and catchy work since their inception. This isn’t a review because I’m a casual metal fan and that’s why I mention this album; outside a Dethklok album (or maybe High On Fire), “Deathless” truly embodies the best that modern metal has to offer. Listening to it is akin to snorting a line of demon cocaine off the butt of Satan itself.
So if this week’s column seems a little more aggressive than usual, »
- Chris Melkus
Once Ridley Scott wraps up the final touches to his epic, Exodus: Gods And Kings, he’ll be turning his attention to The Martian. It’s to be expected, as that’s his next slated project and one that’s gathering steam at an alarming rate. However, if you were to ask any fan of the director which of his upcoming titles they’re most looking forward to, you’ll likely be presented with two options: Blade Runner 2 or Prometheus 2. The latter of which is still some ways off, but is never out of the news due to a massive amount of interest in the sci-fi sequel.
Scott threw a damp squib into proceedings last month when he announced flat out that there’d be absolutely No xenomorphs in the movie. After this particular writer finally stopped blubbing, it became clear that the move is to distinguish the follow-up »
- Gem Seddon
Director Ridley Scott continues to be a busy man, particularly with his latest ventures into old material, including the Alien/Prometheus and Blade Runner franchises. Now, he's jumping back into a lesser-known property; The Hot Zone, a TV limited series for Fox TV. Back in 1992, Scott was hired to direct Crisis In The Hot Zone, based on the novel "The Hot Zone" by Richard Preston, which chronicled the initial outbreak of the Ebola virus. Producer Lynda Obst won a »
- Paul Shirey
Lyon – Martin Scorsese has influenced generations of new filmmakers. But who and what films influenced Scorsese? One front-runner: “The Tales of Hoffmann,” Michael Powell and Emeric Pressburger’s 1951 adaptation of Jacques Offenbach’s opera, which liberated the duo from the constraints of early 1950s’ sound cinema.
In a video presentation made for and screened at the Lyon Lumière Festival Monday, Scorsese admitted that he became “rather obsessed” by the movie.
That could be an understatement. Attending Lyon on Tuesday Thelma Schoonmaker, Scorsese’s three-time Oscar winning editor and Powell’s widow, took a captivated audience through the film, shot in only 17 days, its singularity and huge impact on not only Scorsese but also George Romero. Cecil B. DeMille was another large admirer. Bertrand Tavernier pointed to “Blade Runner” as just one movie that channeled “Tales.”
Starring Robert Rounseville as Hoffmann, Moira Shaerer in a double act- an automated doll Olympia »
- John Hopewell
Pretty good update this week as we kick things off with J.C. Chandor's A Most Violent Year and its R rating, the only "R" rating among the notable titles this week as fellow Oscar contender, Angelina Jolie's Unbroken comes in with a PG-13 rating, though by the sounds of it it's a pretty strong one. Possible foreign language contender, Two Days, One Night from the Dardennes and starring Marion Cotillard scored a PG-13, as did the upcoming Poltergeist remake. Also in the bulletin today is Bill Pohland's Love & Mercy starring Paul Dano as reclusive Beach Boys songwriter Brian Wilson. And, finally Night at the Museum: Secret of the Tomb takes home a family friendly PG. Oh, and as for The Scorpion King 4: Quest For Power, it's coming to Blu-ray, DVD and Digital HD on January 20, 2015, and you won't believe it, but on top of starring Victor Webster »
- Brad Brevet
20th Century Fox
Opinions by their nature evolve over time, and this is certainly true in the world of film: take Orson Welles’ Citizen Kane and Ridley Scott’s Blade Runner, both of which were panned by a large quarter of critics upon release, only to be re-evaluated in later years and earn the impeccable esteem they now hold. However, the both of those films were actually good, whereas this list will be looking at genuinely terrible movies which are nevertheless going to earn a place among audiences as cult classics, as movies they watch time and time again no matter what the critics think.
So, what is it that allows a bad movie to become a cult classic? Poor taste? No: usually it’s because, in spite of the movie’s flaws, it features something iconic, be it a memorable character or scene that, for some reason, connects with »
- Jack Pooley
Director: Sion Sono.
Running Time: 116 Minutes
Synopsis: In the future, Tokyo is split and each district is run by a rap obsessed gang. One gang in particular wishes to seize control of the whole of Tokyo, but the rest aren’t going down without a fight.
Sion Sono has been infecting the realms of cinema with his unique brand of twisted pop-culture subverting thrillers for the last few decades. ANyone familiar with the likes of Suicide Club or Noriko’S Dinner Table, will know what to expect from Sono, and that is to not expect anything you’ve ever seen before. Recently his efforts Coldfish and Himizu have remained dark and sinister, but kept things less perculiar. Tokyo Tribe makes up for any past indiscretions of realism and normality thanks to a rap enthused narrative captured mostly in long takes.
A little bit The Warriors, »
- Luke Ryan Baldock
40. Night of the Hunter (1955)
Scene: The Preacher on the Horizon
Video: http://youtu.be/9PyNL2ahKwc?list=PLZbXA4lyCtqolaQOAXly96de5FYQlPzqK Just like a few others in this section of the list, Charles Laughton’s brilliant Night of the Hunter isn’t really a horror film, but still sets out to keep the audience on edge. Starring a diabolical Robert Mitchum as a preacher/serial killer Reverend Harry Powell, it follows him as he tries to woo his former cellmate’s widow Willa (Shelly Winters), hoping to learn where he has hidden his bank loot. Powell devises that his children John and Pearl must know, but he struggles to gain young John’s trust. When Willa learns of his plan, Powell is forced to kill her and hide the body, leaving him as sole caretaker of the children, who flee down the river. And then the scene. Having believed they have escaped Powell, »
- Joshua Gaul
There's no getting around it. Science fiction provides the bedrock for pretty much all of the biggest blockbusters Hollywood is producing at the moment.
Sci-fi moved quickly as Hollywood developed new visual effects to tell vastly different stories. From the transcendent 2001: A Space Odyssey to the galaxy-hopping soap opera of Star Wars, right through to horror Alien and the thrill-ride of Gravity, the genre has proved to be more malleable than any other.
Just this year, we've seen Marvel infuse the superhero movie with a dose of sci-fi in Guardians of the Galaxy - a movie that currently sits on top of the 2014 worldwide box office with a staggering $650 million in ticket sales.
The BFI are also launching »
Can we all agree this ever growing science-fiction trope of technology evolving beyond human thought into other realms of understanding is a bit played out at this pointc We have seen it done well in Spike Jonze's Her to poorly in Wally Pfister's Transcendence, and those are just from the past twelve months (and are not the only two to grapple with this issue). From Blade Runner to I, Robot, we have seen just about every way to tell this type of story, and until we find a new way, there should be a moratorium put on it, which brings me to the subject of this review: Aut?mata. This pushes itself as a thinking man's thriller, and it is neither thought provoking or thrilling. It recycles the same points all of its predecessors bring up while lulling you to sleep. The film takes place in 2044 A.C. »
- Mike Shutt
Jeff Cronenweth grew up with cinematography in his bones. His father, Jordan Cronenweth, shot such unique achievements as "Altered States" and "Blade Runner" and it was never much of a question that Jeff would follow in his footsteps. Of late, he's forged a solid, on-going partnership with director David Fincher. Their latest collaboration, "Gone Girl," is another bold step for the icy aesthetic they've been cultivating for decades now. Over the weekend I hopped on the phone with Cronenweth — who was Oscar-nominated for his work on Fincher's last two films, "The Social Network" and "The Girl with the Dragon Tattoo" — to discuss that continued partnership, to chew on the old film vs. digital debate and to discuss some of the specifics of how "Gone Girl" was presented visually. Check out the lengthy back and forth below. "Gone Girl" is now playing in theaters. *** HitFix: I imagine at this point »
- Kristopher Tapley
Robots. Ever since the dawn of science-fiction arose from the industrial revolution, it seemed inevitable that technology would play a major role in the future evolution of mankind. Or, perhaps, as some would suggest, skip evolution all together as human beings become extinct and the fruits of our scientific prowess take over as the top of the Earthly food chain. Wherever we fall on that debate, the ultimate question remains… what will the continued advancement of technology look like and how would humanity fit into the long-term picture?
Writer and director Gabe Ibáñez returns five years after revealing his first feature film Hierro (2009) with AUTÓMATA. He dips his quill into the rich ink pot that is science-fiction to tackle the difference between man and machine, or the similarities that emerge beneath the blinding veil of fear and hatred. This may sound all too dramatic, but at its core, AUTÓMATA is »
- Travis Keune
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