As one would expect from the ever audacious, thoughtful filmmaker, there are more than a few projects Stanley Kubrick developed but never brought to the screen. Though efforts have been made in the past to bring his unfinished works to life, namely through Steven Spielberg's A.I. Artificial Intelligence or the multiple rumors over the years to satisfy his vision of Napoleon in the form of a film or mini-series, most were put to rest with the filmmaker back in 1999. But apparently one of his earliest unmade screenplays -- 1956's The Downslope -- was dusted off the shelves somewhere in Hollywood recently, and director Marc Forster (World War Z) has decided to take a stab at bringing Kubrick's lost script to the screen. And because it's Hollywood, it'll be not just one film but an entire trilogy. Forster's only attached to direct the first, but plans to produce all three installments, »
- Will Ashton
We look at the films that slipped through Hollywood's net, from biblical epics to a time travelling Gladiator sequel...
This article contains a spoiler for Gladiator.
If you're one of those frustrated over the quality of many of the blockbusters that make it to the inside of a multiplex, then ponder the following. For each of these were supposed to be major projects, that for one reason or another, stalled on their way to the big screen. Some still may make it. But for many others, the journey is over. Here are the big blockbusters that never were...
The late Michael Crichton scored another residential on the bestseller list with his impressive thriller, Airframe. It was published in 1996, just after films of Crichton works such as Jurassic Park, Rising Sun, Disclosure and the immortal Congo had proven to be hits of various sizes.
So: a hit book, another techno thriller, »
As director and producer, few storytellers have utilized the wonderment and fascination (and sometimes horror) of children as points-of-entry into the wonderment and fascination of the adult world more effectively than Steven Spielberg has. Conversely, Spielberg has also masterfully used the normalized responses of children to the abnormal as an approach to disarm world-weary grown-ups. From Cary Guffey in "Close Encounters" to Henry Thomas and Drew Barrymore in "E.T." to Heather O'Rourke in "Poltergeist" to Christian Bale in "Empire of the Sun" to Haley Joel Osment in "A.I." to Dakota Fanning in "Taken" and "War of the Worlds," Spielberg has always know that there's something pure and primal in the reactions of children and that those reactions can be used to steer the reactions viewers of all ages. Steven Spielberg is one of the executive producers of ABC's new "the kids are not alright" drama "The Whispers," but his participation »
- Daniel Fienberg
2015 has undoubtedly been Alicia Vikander’s breakthrough year with fantastic lead parts in the thought provoking sci-fi thriller Ex Machina and the harrowing World War I drama Testament Of Youth, which is now available digitally and will arrive on Blu-ray and DVD from 25th May. However, this rise to the fore is by no means out of the blue for Vikander, who showed promise as a leading actress in A Royal Affair in 2012 and then went on to hold her own opposite the likes of Keira Knightley in Anna Karenina and Benedict Cumberbatch in The Fifth Estate. In this feature we take a look at the very best of Alicia Vikander.
Anna Karenina (2012)
Anna Karenina is a bold, theatrical adaptation of Leo Tolstoy’s timeless novel by Academy Award winner Tom Stoppard. The film was the third collaboration of Academy Award nominee Keira Knightley with acclaimed director Joe Wright, but »
- Jazmine Sky Bradley
Press Release (via TV By the Numbers) -- New York, NY – May 14, 2015 – "AMC today announced its new eight-part drama series “Humans” will premiere Sunday, June 28th at 9:00 p.m. Et/Pt. Set in suburban London, “Humans” takes place in a parallel present where the latest must-have gadget for any busy family is a Synth – a highly developed, artificially intelligent servant eerily similar to its living counterpart. Penned by British writing partners Sam Vincent and Jonathan Brackley (“Spooks,” Spooks: The Greater Good) and based on the award-winning Swedish sci-fi drama “Real Humans,” the series explores the emotional impact that comes as the lines between humans and machines become increasingly blurred. This bold new series is produced in conjunction with the »
- Derek Anderson
AMC has unveiled the first trailer for its upcoming sci-fi drama series Humans, which takes place in “a parallel present” in which artificial intelligence has been achieved and humans start to form close relationships with said A.I.s. The central conceit finds Synths, artificially intelligent servants that are eerily similar to humans, all the rage in the gadget community. The show is an ensemble piece, with one story revolving around a widower (William Hurt) who forms a close relationship with his out-of-date Synth Odi (Will Tudor) before being forced to upgrade. The series, which is a co-production between AMC and UK’s Channel 4 and Kudos, hails from Sam Vincent and Jonathan Brackley (Spooks) and is based on the Swedish series Real Humans. It’s described as an “eight-part drama series,” so it’s unclear if this is a miniseries or if the first season is just eight episodes in length. »
- Adam Chitwood
“Person of Interest” aired what could be its final episode Tuesday – the program’s renewal prospects remain uncertain heading into CBS’ fall upfront presentation – and in some respects, the series offers a cautionary tale. Not just about artificial intelligence and the surveillance state, which provided the show’s cerebral foundation, but also the challenges in allowing what at its heart was initially a crime procedural, on a network overflowing with them, to morph into a more serialized drama, until the program practically choked on its own dense mythology.
Conceived largely as a two-character piece – Batman’s billions and brains (Michael Emerson) and brawn (Jim Caviezel) split into two guys – the series drew depth and strength from its expanded roster of players, including the since-departed Taraji P. Henson and Kevin Chapman as two cops who gradually joined the operation. Then there was the cold-hearted mercenary Shaw (Sarah Shahi) and the villain-turned-uncomfortable-teammate »
- Brian Lowry
'Munich' movie cover 'Munich' movie review: Steven Spielberg tackles political time-space continuum in wildly uneven but ultimately satisfying thriller Alternately intriguing and irritating, thought-provoking and banal, subtle and patronizing, the biggest surprise about Steven Spielberg's Munich is that it – however grudgingly – works. The film, which Spielberg himself has referred to as a "prayer for peace," follows five men contracted by the Israeli government to avenge the massacre of that country's athletes at the 1972 Olympic Games in Munich. Sizable chunks of this political thriller with a Message (capital "M") are simplistically written, clumsily acted, and handled with the director's notoriously heavy touch, but the old adage – blood begets blood – even if somewhat muddled, is too timely not to make an impact. Complex 'Munich' movie plot Based on George Jonas' 1984 book Vengeance: The True Story of an Israeli Counter-Terrorist Team, whose veracity has been questioned in some quarters, Munich begins as »
- Andre Soares
HitFix's recent spate of "Best Year in Film History" pieces inevitably spurred some furious debate among our readers, with some making compelling arguments for years not included in our pieces (2007 and 1968 were particularly popular choices) and others openly expressing their bewilderment at the inclusion of others (let's just say 2012 took a beating). In the interest of giving voice to your comments, below we've rounded up a few of the most thoughtful, passionate, surprising and occasionally incendiary responses to our pieces, including my own (I advocated for The Year of Our Lynch 2001, which is obviously the best). Here we go... Superstar commenter "A History of Matt," making an argument for 1968: The Graduate. Bullit. The Odd Couple. The Lion in Winter. Planet of the Apes. The Thomas Crown Affair. Funny Girl. Rosemary's Baby. And of course, 2001, A Space Odyssey. And that's only a taste of the greatness of that year. "Lothar the Flatulant, »
- Chris Eggertsen
All week long our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. "Mulholland Drive." "Donnie Darko." "Spirited Away." "Ghost World." "The Royal Tenenbaums." "Lord of the Rings: The Fellowship of the Ring." "Wet Hot American Summer." "Pulse." "Hedwig and the Angry Inch." If you're not stunned by the sheer variety of greatness in the above list of films, you probably won't be on board with my argument for 2001 as the greatest year in movie history. And if you're puzzled by the exclusion of "A Beautiful Mind," then you might as well stop reading now. "A Beautiful Mind," of course, won Best Picture at the Oscars the following year, an honor that felt undeserved at the time and positively baffles in hindsight. The Ron Howard-directed drama was an ephemeral triumph, the kind of middle-of-the-road Hollywood »
- Chris Eggertsen
Tis I, Jason from Mnpp, here, with another week's new edition of our "Beauty vs Beast" series. So over the next several days The Film Experience is going to be diving into the cinematic realm of Artificial Intelligence (known as "A.I." to people in a hurry and Haley Joel Osment fans), and to get the ball rolling I figured we'd make ourselves like science-fiction and hop in the way-back machine to the year 1927, when a little chap who went by the name Friedrich Christian Anton Lang, known to his friends as Fritz, made a little movie called Metropolis. In case you don't know the story, it goes like this: Boy meets Girl, Girl Gets Clones Into Evil Robot, Dystopian Nightmare Explodes, and a Kiss, The End. Somewhere in there dancing happens, and it is crazy awesome.
But thanks to a ferocious performance from actress Brigitte Helm you really couldn't get »
For a man whose directorial debut has earned almost uniformly stellar reviews, Alex Garland seems slightly pessimistic about what might come next. It's likely because of his experiences writing "Sunshine," "Never Let Me Go" and "Dredd." All three earned some heaping of critical praise, but either disappointed or had middling success at the box office. "Ex Machina," which has already had success on the other side of the Atlantic, may break that trend. A contemporary science fiction thriller, "Machina" finds a young programmer, Caleb (Domhnall Gleeson), dropped off at the remote estate of his company's mysterious and genius founder, Nathan (Oscar Isaac). Caleb has won a contest at their Google-like company to spend a week with this powerful, Steve Jobs-esque figure, but he soon learns, however, that he's been recruited for a specific experiment. Nathan has secretly been developing an artificial intelligence that "lives" within a walking and talking robotic body. »
- Gregory Ellwood
Deadline has revealed that Warner Bros.’ adaptation of Ernest Cline’s cult favourite sci-fi book Ready Player One has found a director, with Steven Spielberg signing on to helm the project for the studio. It will mark Spielberg’s first movie for Warner Bros. since 2001’s A.I. Artificial Intelligence, and will go into production once the director finishes work on his adaptation of Roald Dahl’s The Bfg.
“We are thrilled to welcome Steven back to Warner Bros,” states Greg Silverman, Warner’s President of Creative Development and Worldwide Production. “We had a historic series of collaborations in the 1980s and 1990s and have wanted to bring him back for years. At Warners, we always have our eye on all the groundbreaking visual effects and technology available worldwide, and we feel very confidant with any new ground that Steven would want to tackle. He’s a master filmmaker, so we feel very comfortable with him. »
- Gary Collinson
Steven Spielberg has signed on to direct the adaptation Ready Player One for Warner Bros. Back in December, we reported that Warner Bros. was courting a number of high-profile directors, such as Christopher Nolan, Robert Zemeckis, Peter Jackson, Edgar Wright and Matthew Vaughn to take on this adaptation of Ernest Cline's novel of the same name, but Steven Spielberg wasn't mentioned in that report. Deadline reports that this project will likely be the director's next movie, after he finishes his Roald Dahl adaptation The Bfg, which is slated for release next July.
Ready Player One centers on a teenager named Wade Watts, who becomes obsessed with a virtual reality world known as Oasis, that allows players to live out their fantasies. After the game's creator suddenly dies, an elaborate treasure hunt is held within the Oasis world, with the winner emerging to take control of the entire company. This »
Exclusive: Steven Spielberg is set to direct Ready Player One, the highly anticipated project based on the popular sci-fi book by Ernest Cline that takes place in a virtual world. What a coup for Warner Bros, which will bring it to the screen along with Village Roadshow. This is expected to be Spielberg’s next movie after The Bfg. Ready Player One also marks the director’s return to Warner Bros after a 14-year absence. The last picture he directed there was A.I. Artificial… »
Hungry for the delectable and deadly atmosphere of Michael Dougherty's Trick ’r Treat following the announcement last week that Legendary comics is releasing graphic novels of Trick ’r Treat and the upcoming Krampus? If so, then you might dig Cavity Colors' Cakepop Sam print, the latest addition to their Deadly Desserts line. The print depicts the creepy creature from Trick ’r Treat as a cake pop that's a festive feast for the eyes. Also featured in our latest round-up are details on the Kickstarter campaign for world-renowned special effects master Hiroshi Katagiri's debut film, Gehenna – Where Death Lives, as well as release details on Scream Factory's Blu-ray of the Patricia Arquette-starring possession film, Stigmata.
Cake Pop Sam Print: Cavity Colors' "Cakepop Sam" print is now available to purchase for $15.00:
"Signed by Aaron Crawford High quality 8 x 10 inch Giclee Print Printed with Archival Inks on Acid Free »
- Derek Anderson
Director Niell Blomkamp’s new sci-fi epic Chappie opened this weekend. The film tells the story of a robot who is given artificial intelligence by his inventor, but he must learn the ways of the world just like a child. However, his innocent mind is being molded by gangsters and violent criminals.
Photos: 'Pacific Rim' and 7 Giant Robot/Monster Mashes
It’s still to be seen if Chappie will go down as a classic in the robot sci-fi genre, but if it whetted your appetite for artificial intelligence movies and android action scenes, here are nine of the best robotic heroes and nine of the craziest robotic villains in cinematic history.
9. Gigolo Joe from A.I.: Artificial Intelligence (2001)
Played by: Jude Law
This is one of Law’s greatest roles. Gigolo Joe is a mechanical male prostitute on the run from authorities after being framed for murder. Joe is a highlight »
Artificial intelligence – and its close link to the essence of humanity – is one of cinema’s favourite topics. There are tons of films about robots with varying degrees of sentience. 2001: A Space Odyssey, I, Robot, The Terminator, Blade Runner, Her, Wall-e, and A.I. Artificial Intelligence are just a few of them. The list could go on and on.
Blomkamp, Patel, and the Chappie crew go behind the science of artificial intelligence in the below two featurettes. Check them out below, and make sure to catch the film by the South African-Canadian director on Friday, March 6!
- Sasha James
At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This week we’re examining the trademark style and calling signs of Stanley Kubrick as director.
Kubrick’s interest in visual arts began with photography before he became interested in filmmaking. He enjoyed making short films and became very proficient at doing so. Eventually he made his first feature film The Killing Fields (1953) as an exercise in low-budget filmmaking. That film was not a commercial success, and he had to work hard to get funding to keep working as a filmmaker. His next film, Killer’s Kiss (1955) involved a lot of experimentation, so much that it ended up eating into the budget and costing Kubrick a profit. As a result, he decided to work with a professional crew on his next film, The Killing (1956), which also did not become commercially successful, »
- email@example.com (G.S. Perno)
This article contains a spoiler for the ending of Interstellar.
In case you missed it, the Oscars were this past weekend and Birdman was the big winner. The Academy’s choice to award Alejandro González Iñárritu's fever dream was a genuine shock, with Boyhood the running favourite for many months. Nonetheless, some things never change, and in that vein it's certainly a non-surprise the Academy also hardly noticed the most ambitious blockbuster of 2014: the Christopher Nolan space epic, Interstellar. Indeed, I use the phrase "non-surprise", because how could it be a winner when it was only nominated for the bare minimum of five Oscars in technical categories that are reserved as consolation prizes?
This is by all means par for the course with a film that has »
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